Post-Yugoslav Negotiations of Queer

CEU eTD Collection

S UBVERSIVE VISUALITY UBVERSIVE

In partial

AND ACTIVISM NEGOTIATIONS OF QUEER ART OF QUEER NEGOTIATIONS fulfillment

of the requirements forof the Gender PhDinComparative thedegree of Supervi Submitted to Submitted DepartmentGender Studies of sor: sor: Budapest, Hungary

Sanja Kajinić Central European University : P Professor Erzsebet Barat Studies 2013 OST By

- BETWEEN ART ART BETWEEN

YUGOSLAV YUGOSLAV

CEU eTD Collection

authorship ofthem. non academic, for strictly used are mate unreferenced contain thethesis any tomy apartknowledge,does fromother the CEU nor, institution part no that declare hereby I

rial or ideas from other authors. authors. other from ideas or rial

D s of this thesis have thesis this of s

ECLARATION

- omril upss ad d nt li any claim not do I and purposes, commercial i

been submitted towards a degree at degree a towards submitted been All pictures displayed in this thesis this in displayed pictures All

Sanja Kajinić

CEU eTD Collection

the permission ofthe author. without made be not may instructions such with accordance in made copies Further for must page This librarian. the from obtained be Unive European Central the of Library the in lodged and author the by given instructions the with accordance in only made be may part, in or full either process, any by Copies author. the with rests dissertation this of text the in Copyright COPYRIGHTNOTICE ii

a part of any such copies made. made. copies such any of part a Sanja Kajinić rsity. Details may Details rsity.

CEU eTD Collection

queering of the Croatian public discours public Croatian the of queering concerns feminist intersectionality of and approaches queer ethnography. to Festiv visual and written of the of ethnography representation studies, festival theory, queer studies, cultural studies, visual feminist of fields the in discussions with queer LGBT/queer works study I project, this In ht h post the that time festival experiencing travelling, through queerness regional negotiates community festival Zagreb the particular, in which, identities). and works art region, queer/lesbian/gay produce to choosing (of representation queer visual creating of strategies the and identities), and works art region, the queering strategies the between oscillate queerness of negotiation regional of practices the that argue I culture. popular meet influences time the as Festival the of programming the , visuality and space visualityspace and, visuality Approaching negotiation as both as negotiation Approaching the of visualitythe while that Ishow

- art uolv ue festivals queer Yugoslav

n oil cha social on in

festivals n (ue) nhoooy to anthropology (queer) and the Queer Zagreb Festival Zagreb Queer post the processes of negotiation of meanings of queer of meanings of negotiation of processes the

( - and in particular the particular in and Yugoslav region from 2003 till 2012 till 2003 fromregion Yugoslav of al materials. Furthermore, my analysis is informed by the the by informed is analysis my Furthermore, materials. al

nges post A BSTRACT - . Methodologically, my my Methodologically, . Yugoslav queer festivals. Yugoslavqueer iii (despite significant differences in artistic and and artistic in differences significant (despite

material and discursive, I explore the ways in ways the explore I discursive, and material es of art and politics, it was framed through framed was it politics, and art of es

with Queer Zagreb Festival Zagreb Queer of queering belonging and visuality (of (of visuality and belonging queering of - - space, and understanding art. I suggest I art. understanding and space, Queer Zagreb Festival Zagreb Queer pc wee ih r ad avant and art high where space

interview analysis, and close and analysis, interview ask

about

dissertation

The thesis The h inf the .

This research This engages

aimed for a radical radical a foraimed une f visual of luence

in Croatia in

researcheshow combines es in ness

- reading - ) garde

used

the art

CEU eTD Collection

gender hierarchies. queer and/or inde an as read gay be can representations and lesbian subversive the that suggestion my in lies audience broader a for project my of significance The sociability. queer of spaces festival free chronot festival of up opening the that argue I normativity. gender and sexual question that works art of display the for space public the claiming of practices in engaged all are them) among goals political

opes to non to opes iv x of larger changes in post in changes larger of x

- normative visuality creates temporary creates visuality normative - socialist sexual and sexual socialist CEU eTD Collection

Hu t To LanguageSource Teaching Group: Sonia to and department Gender CEU A Dimova,Antke Engel,Rozita Center in Golanska, Dorota Zapedowska, Kaja M Zagreb, in me to Ljubljana,Sarajevo,Belgradeand talked had who friends and organizers artists, activists, the All Mygratitudegoes deep to Agata diCatania to least, not but last And To Hela and theherd, To To To the Farkas To BojanBilić,Pan and toMaja her herr Migu, To my stepfather Anto, T Vienna; o l h professors, the ll y supervisor blt to mboldt; t deda Mari he Milicas he 2012/2013 GenderQueer Labor at the Institute for Eur for Institute the at Labor GenderQueer 2012/2013 he andon Kuecholl, my sister Maja;

Luka “ and question his

Lodz; Buikem Rosemarie to ; -

Carnaffans,

Erzsebet BaratErzsebet hit Hemre f h Isiue o History for Institute the of Haemmerle Christa –

. Cartina

iaa rtć m BS tdns ad h clege a te CEU the at colleagues the and students, BCS my Krstić, Tijana colle

A to Mile,and tomy Toni; to brother , and especially to Agnes and Dori of my Phd Support Group, Support Phd my of Doriand Agnes to especially and , CKNOWLEDGEMENTS Kartich a

gues

everybodyand whohelped zkl Mstf o te 16 the of Musztafa Szokoli , and

icuig aie Middel) Carine (including

sine and Danica mom my

Sara

a of the 2007 NOISE theBologna;a 2007 of in

, is that thing of yoursyet?”,of , isthatthing over h v and

Green

Elzbiet

of the EastBordNetof

Oleksy , was a

o my cousin Steffy Pop, etr Bd, n to and Buda, century

n sta and fellow f h Wmns Studies Women’s the of opea at

project on

n Ethnology at the the at Ethnology n ff members members ff the University of of University the

this journey:this ,

at the the at

santa santa

CEU eTD Collection 4 3.3 3.2 3.1 CHANGES METHODOLOGICAL3 ROAD 2.3 2.2 2.1 REPRESENTATION 2 1.4 1.3 1.2 1.1 ImaginingRegional Queerness While Queering Regionthe 1 INTRODUCTION ILLUSTRATIONS OF LIST TABLECONTENTSOF ACKNOWLEDGEMENTS ABSTRACT COPYRIGHT NOTICE DECLARATION

CULTIVATING QUEER ARTCULTIVATING QUEER FESTIVAL ZAGREB: IN MANIFESTOS REGIONAL VISIBILITYAND POLITICS QUEERNESS: QUEERING SITUATED STAGING SUBVERSION: REGIONAL QUEERNESS

Queer SeeabilityQueer CriticalVisual Methodologyand the Metaphor ofa QueerArchive An Interface:Research Methodology andTheoretical Questions LGBT TransformativeCollectives through VisibilityPo What QueerImages Want:Visibility andVisuality ofResistance The Carnivalesque of QueerFestival Heterotopias Post HowPost Thinkingabout Queering Methodology - YugoslavQueer Festivals' Chronotopes

...... 1.2.1 Symbolic Geographies Symbolic 1.2.1 2.3.1 Queering Visuality and Practices of Curating of Practices and Visuality Queering 2.3.1 Politics Naming of The 1.2.2 2.3.3 Queering Visuality and Festival Images Festival and Visuality Queering 2.3.3 Art and Visuality Queering 2.3.2 ...... - YugoslavArts Festivals Translate “Queer”

......

...... TABLEOFCONTENTS - ...... GUIDE: RESEARCH PROCESS AND RESEARCH GUIDE: PROCESS MANY ITS ...... Contents

......

...... vi ......

......

...... litics

......

. viii

12 95 82 44

92 89 84 61 53 46 36 25 18 13 18 78 69 62 21 vi iii

1 v ii

CEU eTD Collection REFERENCES: CONCLUSIONS 7.3 7.2 7.1 7 6.3 6.2 6.1 6 5.3 5.2 5.1 5 4.3 4.2 4.1

REGIONAL QUEERNESS ANDREGIONAL ZAGREB THEFESTIVAL QUEERNESS COMMUNITY NEGOTIATINGZAGREBFESTIVAL VISUALITY IN THE SUBVERTING CROATIAN MAINSTREAM: FESTIVAL PROGRAMS

Queer ProgramQueer for “Loyal”Audiences OrganizingQueer Festival in Manifestos Queer ArtQueer according toMy Interviewees ViewersInhabiting FestivalChronotope Regional Queerness inMotion CollaborativeTheatrical Performance as a QueerHetorotopia PerformingRegional Queerness VisualDeconstruction of Taboos: Festival Posters Programming QueerZagreb Chronotopes Negotiating the QueerProgram “Inventing” Audience,the Inviting Transnationalthe Art World TextualizingQueer ZagrebChronotopes

5.3.2 Relating to the Institutional Field Institutional the to Relating 5.3.2 Circuit Festival the and Community the Between 5.3.1 Resistance of Chronotope the Programming 5.2.3 Chronotope Conference the Programming 5.2.2. Queerness Regional of Chronotope the Programming 5.2.1 Art Queer (Regional) Cultivating of Strategy 5.1.3 Diversity Programming of Strategy 5.1.2. Art (High) Queering of Strategy 5.1.1 Manifestos in Field Institutional 4.3.3 inManifestos Circuit Festival 4.3.2 Manifestos Audience in Festival 4.3.1 Resistance of Chronotope 4.2.3 Activism Art and of Intersection of Chronotopes 4.2.2 Queerness Regional of Chronotope 4.2.1 Manifestos Festival Open(ing) 4.1.3 the Mainstream Testing Manifestos Festival 4.1.2 Art Queer (Regionally) “Defining” Manifestos Festival 4.1.1

......

...... vii

......

129 237 230 193 164 ..

130 122 109 219 208 195 188 183 165 158 150 143 132 126 125 123 120 113 110 106 103 162 159 155 153 151 147

98 99

CEU eTD Collection Figures 16 15 17 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Kovačićand Naz QueerZagreb“Homophob Festival, t programZvonimir Dobrović director at inauguration the performative of QueerZagreb ŽeljkoFestival,Zorica Artist Zagreb andFestival Queer QueerZagreb QueerZagreb QueerZagreb QueerZagreb QueerZagreb QueerZagreb Festival, 2007 QueerZagreb QueerZagreb QueerZagre QueerZagreb QueerZagrebFesti Ivana’sIvana room Anić, Ivana’sIvana wall Anić, Darko Vaupotić, QueerZagreb

he plaque at the 2007festival b Festival, 2005 Festival,b 2005

Festival, 2012 posterFestival, 2012 postersFestival, 2011 posterFestival, 2010 posterFestival, 2009 posterFestival, 2008 catalogueFestival, 2007 posterFestival, 2006 posterFestival, 2005 posterFestival, 2004 or becauseofhatred?” The BanquetZagrebThe attheQueer Festival 2009 val, 2003 poster andval, flyer 2003 LISTOF ILLUSTRATIONS

poster catalogue

es destroyed plaque topoets the

viii

175 174 173 171 169 167 167 48 48 1 186 184 182 181 179 177 176 90

CEU eTD Collection are body” “spacesfoldsofthe in the unfolds that skin likesecond a are spaces instead, bodies; to where not exterior subjectivity embodied of processes the to related closely is space geographical and social in social” the “skinof thefrom i.e. sociality, from 2 Yugoslavia. former of countries successor the termin travelling a “queerness”as of meanings the discuss in and interaction uses, its regional to connection in “queerness” understanding isin interest mainMymyresearch field. and activism works, theoretical in use oftheir multifacetedness ident questioning to commitment 1 lives. private and social” the of “skin the in and found the to belonging of signs” “entranceme hardly they that frequent areso “normal”majority The exist. not did choices other if as normativity sexual the with encounters The ethnonationalism. and heteropatriarchy countries images heads” inour (2002) in consists but innocent not is m is politics and art queer regional of representations years heterotopias into research ethnographic an on based is It activism. This INTRODUCTION

The terms “queer” and “queerness” are used in very many ways in this dissertation dissertation this ways in many very usedin are “queerness” and terms “queer” The Sara Ahmed Sara , with a with , project analyzes project in the post the in

self In general terms, it is possible to argue that t that argue to possible is it terms, general In urgent

o h fre Ygsai ae a are Yugoslavia former the to - the ability to imagine ways outof ways the abilitytoimagine righteousness (2006) creat

particular formulation: “Nothi formulation: - ed by and around and by ed

conflict ethnona conflict Although t Although relates one’ relates

matters greatly. One of the major stakes in the struggle for meaning meaning for struggle the in stakes major the of One greatly. matters (

Ibid. the

focus on focus , even when half when even ,

processes of negotiation of negotiation of processes :186) ity; as an umbrella term for identities; as a style style a as identities; for term umbrella an as ity; s sense of (well)being in a body with a sense of belonging or feeling excluded excluded feeling or belonging of sense a with body a in (well)being of sense s his research cannot but acknowledge them acknowledge but cannot research his 2

that offers only heterosexual life heterosexual only offers that .

the tional self tional ng happens in the ‘real’ the in happens ng

queer festivals in festivals queer

Queer Zagreb Festival Zagreb Queer ( Ibid. - resisted, of resisted, - :9)

rne aon contemporary around rranged congratulatory public politics and politics public congratulatory hegemonic representations; i hegemonic 1 . In her articulation of queer phenome queer of articulation her In .

he post he ten bi ten otivated by the the by otivated the rit much critical attention critical much rit

the meanings of queerness of meanings the post ue visuality queer

world unless it first hap first it unless world nd one to practices to one nd - socialist soci socialist

in Croatia in - Yugoslav region, in the past 10 past the in region, Yugoslav - choices and images in public in images and choices

with art. Further on, I will I on, Further with art. -

discourses reflecting the reflecting claim that rep that claim –

, . My interest in visual in interest My . as a theoretical or political political or theoretical as a I assume I eties

n n non and

Gloria Anzaldua Gloria

omtvte of normativities of the successor the of

nology, orientation orientation nology,

of entering this this entering of : historiography of ethnic and and ethnic of they (

Ibid. 1 they form a a form they pens in the in pens resentation -

normative normative i

n art and art n are to be be to are ) .

’s

CEU eTD Collection “grand” a as ( intensifica an instigates rather It world. the from disengagement and retreat “a not is them, to according Escape, “capture”. p policing and control day the of control of regime the of m a as escape of genealogy intervention. of strategies political At representations escape. prob post all above is research Puar Jasbir that imperialism Duggan Lisa what join to invitations short times at as function posters of interpellations daily the and subversive, as conceptualize and consider we what between line thin a of awareness subversion different which upon grid Ibid. h sm, as same, the - lematically, something unprecedented something lematically, uolv countries Yugoslav :66) while. h aayi ta follows that analysis The her explicit make to has researcher a normativity, to resistance researching When

seduced by the hegemonic invitations to inhabit the inhabit to invitations hegemonic the by seduced .

Furthermore .

h ocsos hn etvl iult fntos s etac sg” se as see I sign” “entrance as functions visuality festival when occasions The act of subversion or revolt. Ins revolt. or subversion of act

in the space the in a corollary, it it corollary, “entrance sig “entrance concerned , excess an producing but ractices,

normality. they suggest that suggest they aoe l i Croatia, in all above ,

ultitude of “escape routes” taken by “escaping subjectivities” out subjectivities” “escaping by taken routes” “escape of ultitude of of id o pra of kinds tion of committed constructions and efficacious interventions” interventions” efficacious and constructions committed of tion ( queer festivals queer 2007) with lo explore also ns” to see how queer visuality queer how see to ns” why is This explore (

Papandopoulos, Stephenson and Tsianos and Stephenson Papandopoulos, Ibid. explode have that signs” “exit the

ocpulzd s “homonationalism”. as conceptualized (2002)

:15) social transformation in transformation social

tcs a emerge may ctices i s n this particular region particular this n

s tead, one should follow actual follow should one tead,

rcie ad osblte of possibilities and practices

2 h lmt t ad lsrs f hi ptnil as potential their of closures and to limits the hoie a “ooomtvt” r h global the or “homonormativity” as theorized as a way of way a as Escape

look I n h last the in

is argued to be invariably followed by by followed invariably be to argued is at

occasional instances when festival festival when instances occasional of sociability and joy that exceed exceed that joy and sociability of escape spaces of spaces ten patcs f resistance of practices :

in in years, and that offer, albeit albeit offer, that and years,

our age our p and exit and : ost queer queer normality, even even normality, d in the social space of space social the in d - Yugoslav countries is countries Yugoslav is no longer no is visuality of joyous joyous of visuality

from normativity. normativity. from escape routes escape queering visual visual queering (2008) However, this this However,

write a write if if visible visible

for and

by by

a CEU eTD Collection festivals. queer researching to connection 4 escape” level of “theeveryday represent politics” “ representation” of regime overcoding belowact movethe to and to us allows 3 the researcheror the re w possibl made are strategies subversion and routes escape festivals queer identities. very those deconstruct to wish the and claim, political of kind any formulate to able be to order in identities on based organizing for dilemma” beyond,and thepathscreators, viewers. theyusers,traverse theirand critics between objec visual particular the of movements their in and and Hart 2004;Rose2007) terms, practical In non sexual of programof andthe role on consensus simple u word the of festival queer emergingaround politics imperceptible ordinary the and everyday the to attending

imperceptible politics” as an antidote to largely ineffective state largely to ineffective antidote as an politics” imperceptible To Papadopoulos, Stephenson and Tsianos Tsianos and Stephenson Papadopoulos, To I thank Skadi Loist whose work (2007, 2008) first alerted me to Gamson’s text and brought his “dilemma” in “dilemma”in his brought Gamson’s and me to text first alerted 2008) (2007, work whose Loistthank SkadiI nderstanding that there is no uneq no is there that nderstanding hat venues of co of venues hat c eption representations? of these The key terms in this research constantly seem to keep asking to be clarified as to what as keep towhat The researchconstantly to clarified inthis seem key asking tobe terms One

, as formulated by Gamson Gamson by formulated as , uze or puzzle

- in order order in mobility normativity an normativity

n the in - I will track down down track will I optations and closures are at play at the sites of creation, circulation and and circulation creation, of sites the at play at are closures and optations interviewees

region to approach the question of what what of question the approach to dilemma ( Rs 2007) (Rose Ibid.

as billboards, posters, worksas posters, billboards, ofart, photographs; official orprivate d art, and the ways the and art, d :73) aiae h qer iem o identity of dilemma queer the navigate s that I conceptualize as Iconceptualize that s

. is or

flo ter ed in lead their follow I uivocal definition of the term the of definition uivocal

f ia imp vital of the theoretical framework implicateframework theoretical the (2008) the of trajectories the following entails latter The . t

he (1995) exi ts across th across ts (Ibid., 7 (Ibid.,

“imperceptibility” means “the everyday strategy which strategy means“theeveryday “imperceptibility” t signs of queerness in their in queerness of signs t 4 queer festivals, queer . It r It . 3

6) – those terms those rac fr hs eerh I i t is It research. this for ortance . efers to the balancing act between the need the between act balancing the to efers

T performing he e borders of post of borders e -

oriented politics; for them, “imperceptible “imperceptible them, for politics; oriented

main question main chronotopes

truh hs vsa events; visual these through e looking ae at queer art makes my

come to be articulated together articulated be to come

(Ibid., 75) (Ibid.,

ht hy al rcie of practices call they what project

queer

at in Bakhtin’s Bakhtin’s in s -

Yugoslav countries Yugoslav

oet o queerness of moments I ask here are here ask I w ;

. . formulate They

explores materiality (Loist 2007) (Loist them a mds f exit, of modes hat .

to mean. These These mean. to ae o the on Based (1982) intersections intersections

e “queer he (Edwards

: how do how : , and no no and

sense sense

and and and .

CEU eTD Collection the of end the by already authors individual of texts in “queer” term the of discussions travelling naming of politics associated norma provi “fashionable” with continuity naming e and derogatory its in both discourses public the in of the fact ambiguous cul what negotiate they how and regionalandpracticestranslatingcontext, localof complex “queer”into engageYugoslavia in both for concepts ethnog fieldwork, as such terms anthropological fundamental concepts” contested “essentially of theorization these of terms. contested as status (visual) of context the in namely terms, ua eet prann to pertaining events tural ding a safer space at at space safer a ding tivity and Prior to analyzing the translation of queer into post into queer of translation the analyzing to Prior former of countries the in festivals art queer the how ask will I dissertation, this In

ethnographicresearchand for queer

h clua eet “queer” events cultural the that are contested are that

Jackman’s recalls concepts crucial that, prior to the queer festival wave of thelast decade, festivalof queer wave the tothe that, prior f the of situations in the lo the in situations

“ post in the in queer as a masquerade linguistic as

ocp ad t ap its and concept - oen eso o iaiig h lcl GT community, LGBT local the imagining of version modern

” Anglo

in the sense of sense the in art, throughout this this throughout art, My willingness as a researcher to allow for the productive openness openness productive the for allow to researcher a as willingness My , t he festivals as the term “queer” term the as festivals he and - American

cal post cal I call “regional queer”. The use of the term “queer” term the of use The queer”. “regional call I

n eto 1.2 Section in insists on the importance of their continuous but reflexive use reflexive but continuous their of importance the on insists non - omtv iette ad eortc politic democratic and identities normative

has Yugoslav context. This ambiguity was ambiguity This context. Yugoslav que lctos in plications canon erness in the post the in erness

in a hostile context in ahostile had theory

research 4 of of I il etr it a re trajectory brief a into venture will I ,

ay otn contradictory often many, (2010) ( Ibid. quee .

mpowering connotations. T connotations. mpowering h region. the :114) r theory and politics; opting for a more a for opting politics; and theory r

will continue to draw attention to their to attention draw to continue will

eeec t Walte to reference . - - function Ja Yugoslav regional queer and the the and queer regional Yugoslav Yugoslav context Yugoslav . ckman

ah, n te il isl as itself field the and raphy, Although one finds early early finds one Although s bot s term sees both queerness both sees h “queer” a Bye Gallie Bryce r effects: s an s

partly , but also queer also but , he escape was absent absent was

created s to denote denote to choice of of choice effect the claiming or

f the of

from from even even

and and ’s

CEU eTD Collection one academic than rather context activist and cultural th with connection in locates she politics and theory Serbia with similarity notices Dioli that. before translations and texts the at place taken have Dioli to according Croatia, In that. after decade whole Ljubljana” in trouble the of organizers 5 understanding, constituting, post ethnicity, race, be can't (or made aren't anyon of gender, anyone's of elements constituent the when meaning of excesses “ 395 “difficulty” this to answer definitive necessary” yet up identity groun comm or sexualities genders, stable of existence queerness Since denigration invite that practices and discourses against terms politi for dilemma a presents tool conceptual a as developed and genders Q politics. move, that of way by and Self, promis the out hold to come has it context, European American/Western cultural 1990ies

h oe ms o psiiiis gp, vras dsoacs n rsnne, ass and lapses resonances, and dissonances overlaps, gaps, possibilities, of mesh open the Tea Hvala traces the first translation of “queer” of translation first the traces Hvala Tea – 404) d” In its g its In

produces for identity politics consists consists politics identity for produces festivals in the past the in festivals I , of lesbian and gay politics politics gay and lesbian of .

er a be rcamd s n mrla em o non for term umbrella an as reclaimed been has ueer

argue identity enealogy, the use of the term “queer” term the of use the enealogy,

Festival of Gay and Lesbian Film Lesbian and Gay of Festival pn u a oeta fr ueig dniy politics identity queering for potential a up opens

eosrcs l bsc rmss f niiul n cletv iette (the identities collective and individual of premises basic all deconstructs

– nature that

T disputes about the meaning and usefulness of queer theory and politics in Slovenia Slovenia in politics and theory queer of usefulness and meaning the about disputes - ransgressing Gender Conference Gender ransgressing ooil ainlt criss nationality colonial - rcuig discourses” fracturing queerness made) to signify monolithically”, to encompassing “ encompassing to monolithically”, signify to made)

of identities, while at the same time, not insisting on providin on insisting not time, same the at while identities, of ten cal movements struggling for public manifestations on their own own their on manifestations public for struggling movements cal

t has it ars. Regarding the meaning of queer of meaning the Regarding ars. a ar has

but engaging with it toward some form of politics politics of form some toward it with engaging but

Gmo 19, 395) 1996, (Gamson lo eiee te oe o a e con new a for hope the delivered also ie i post in rived

into Slovenian to a 1995 text by Suzana Tratnik, one of the the of one Tratnik, Suzana by text 1995 a to Slovenian into

in Ljubljana Ljubljana in ( e first first e Ibid.

(2008) 5 in -

rs wt tee sxa] n ohr identity other and [sexual] these with cross

Sdwc 20, 7) 2008, (Sedgwick

o dcntutn (sexual) deconstructing for in 2005, although there have been individual lectures, lectures, individual been have there although 2005, in acknowledging the instability and and instability the acknowledging :78) Queer Belgrade Festival Belgrade Queer unity belonging), it literally “shakes the the “shakes literally it belonging), unity , first discussions of queer theory, art and activism activism and art theory, queer of discussions first ,

has been a been has - (2011, 181) (2011, Yu – goslavia with the wave of queer queer of wave the with goslavia

. where first broader discussions of queer queer of discussions broader first where h dlma hs hleg to challenge this dilemma The (Jagose 1996; Sullivan 2003) Sullivan 1996; (Jagose rgued to shift from signifying from shift to rgued . However, she locates the “queer “queer the locates she However, . - omtv sxaiis and sexualities normative , instead of an identity identity an of instead , Ti shift This .

in its origin of Anglo of origin its in

in 2005, and so within a a within so and 2005, in e of e identity decentering h as that ways the figuration of of figuration e's sexuality e's the “made the , in my my in , , (1996, (1996, which

g a a g the the –

a - - . CEU eTD Collection space a as but occurs, translation which within space (2011) in movements its of course countries the in aesthetics and politics LGBTQ (to) of indeterminacy bo disciplinary queer and of understanding geographical political, across concept travelling a as issue the research, class) religion, ethnicity, (race, identities negotiati of process the emphasize to been has conceptualized Queerness sexuality. of narratives of circulation global of matter a as language function as “struggle terms” undecid and proliferation the in reflected is practice and theory queer in representation of politics the of importance who about is It naming. and of field crucial a constitutes representation visual of politics The art. and culture of field the including fields, various in disidentification of action an securing energy political as het betweenthe distinction queering theregion andproducing queerness. regional disregard queers, for politics ero -

normativity, queer has be normativity, queer An important aspect of the the of aspect important An of institutions and beliefs entrenched challenging in queer of promise the Regarding have conceptualized to be the be to conceptualized have I te ue at fsias r pae withi placed are festivals arts queer the If . ing their intersectionality. their ing in queer(ing) transqueer narratives transqueer of translation at work within queerness within work at translation of

ae on based ness ability of discussions around queer and queer around discussions of ability

that fuel actions analysis and

s practice a as theory and poli and theory feminist theory and activism: “ activism: and theory feminist a e repres se en linked with the concept of “performative power” concept of linked withthe en olto o non of coalition

queer dilemma queer Furthermore, this is the shift that interests me in drawing in me interests that shift the is this Furthermore, ntasain mn ayitretn iesos of dimensions intersecting many among on/translation Europe as translational space translational as Europe

- nain wl prevail” will entations

that constitute “queerness” constitute that a term that brings together translation and queerness and translation bringstogether that terma n hs eerh s nomd y the by informed is research this in tics as it travels and translates/gets translated in in translated translates/gets and travels it as tics 6

normative sexualities and genders without without genders and sexualities normative (Gamson 1995, (Gamson n what Buden, Mennel and Nowotny Nowotny and Mennel Buden, what n (Pulkinn

(Hennessy 31) 1994, is - in linked to the trajectories of queer of trajectories the to linked - The struggle is… over imaging over is… struggle The translation whose spatiality is is spatiality whose translation

Badti 94 72) 1994, (Braidotti en in Mizielinska 2006, 88) 2006, Mizielinska in en

vis 390)

(Baldo 2008, 56) 2008, (Baldo ibility

–

is tied to the issue of issue the to tied is “ not only as a given a as only not :

both continue to to continue both

post undaries. My My undaries. liiy and fluidity - . It is seen It seen is . Yugoslav Yugoslav . In my my In . . The The .

CEU eTD Collection shapes and for leaves direction normative from so, deviations to leads that desire Ahmed, pathways, official from deviations of history the to hint and ground the on marks ones prescribed the outside paths of usages daily many to attention have we turns li our as reach within is What others. from away us turns simultaneously it while us to available wo subjectivities how of festival queer/lesbian/gay artregion, wor works art region, the queering of strategies of inhabiting switching festival queer heterotopias forth onconstant rely and back between the the include geographies, are analysis my in included non of repressive and region festivals democratic incontemporary intervention Europea a translation by determined precisely fe choices is not “casual” not is choices fe participatory strategies and tactics of art of tactics and strategies participatory

My interest in queer space queer in interest My main My phenomenon various negotiate

n the in desire lines desire nd creation of queer visuality queer of creation nd ( those Ibid. previously previously

actors argument -

normative sexua normative :20) ie inter wider and compete not only not compete and f oiis f aig ad f programmi of and naming, of politics of

to Te ie retn isl aa fo te fiil pa official the from away itself orienting life The . in addition to the organizers, the organizers, the to addition in

– Sara

taken rnltoa sca practices” social translational a term from landscape architectur landscape from term a rk ,

but presents itself as a visible option visible a as itself presents but discussed in detail in Chapter 1 Chapter in detail in discussed /move Ahmed’s Ahmed’s ainl otx fr eonto ad o tim for and recognition for context national . : organizational strategies of creating festival symbolic symbolic festival creating of strategies organizational : Ahmed ks and identities. ks and identities. - lities and gender expressions. The p The expressions. gender and lities

time as a possible “escape route” “escape possible a as time n s in (2006)

ae floig certain following pace: further complicates this life this complicates further

within

around them constitute one important practice of of practice important one constitute them around ists and audiences and ists and identities, and the strategies of producing a producing of strategies the and identities, and

7 conceptualization of orientation as a metaphor metaphor a as orientation of conceptualization

the boundaries of new of boundaries the n political andartistic sp

( practices ( Ibid. Ibid. e for “unofficial paths” “unofficial for e ,

is that the post the that is :16) . I will show how the practices practices the how show will I . ng. Since festival chronotopes chronotopes festival Since ng. :5)

te te yais f the of dynamics the then , . As desire lines desire As . as a result of the paths and and paths the of result a as lines of negotiation negotiation of -

mappi link

ractice the traces on the b the on traces the nation ae sm objects some makes s ace.

e the analysis of the the of analysis the ng by drawing the drawing by ng - space -

Yugoslav queer queer Yugoslav s of negotiation of s - states, h fcs the faces ths also include also

leave their their leave ht s not is that

that show that

but in a in but ody ody

CEU eTD Collection und contextual is discourse) political in called (as Balkans Western assume I Since engage space festival Chapters study ethnographic the function as spaces of“ of network the of formation the at look to lens a as orientation collective of concept s fixed a not is identity when instances of dilemma queer the alternative,non no 109) or following means orientation” “collective or direction” “collective desire” ( sexual of spatiality “the as well as space” of “sexualization reconsider to Ahmed th objects certain lines the reading, “ world the into neatly “ Ibid. disorientation of enc of disorientation rms, Ahmed’s queer moments are “moments of “moments are moments queer Ahmed’s rms, Calnig h asmto aot oe olcie eiain o olwn particular following to dedication collective some about assumption the Challenging .

and :1)

In what follows, I will analyze will I follows, what In toward orientated being and space in residing of question a as orientation Seeing in Rsdn together Residing . the 1

discussions in the field of visual culture, cultural geography, and queer theory. theory. queer and geography, cultural culture, visual of field the in discussions

queer festivals festivals queer and exit signs at signs exit actual artactual function festivals as of sites such collective queer direction. - time, and questions of questions and time, erstanding -

prefigured landscapes. prefigured ht h rgo o post of region the that 2 at should have the c the have should at

r d are facing ountering the world differently” world the ountering collective directio organized around the around organized

of vtd o th to evoted s post

of the of

h priua sre o eet called events of series particular the satraiesae of spaces alternative as the same direction and thus noticing the same objects same the noticing thus and direction same the n pc ad en oine i t in oriented being and space in - Yugoslav

Croa queer oeia concerns: eoretical apacity to apacity tian queer festival, the whole of Cha of whole the festival, queer tian

In my reading Ahmed’s “disorientation” readingAhmed’s my In queer visua queer n” queer fes queer - Yugoslavia (as (as Yugoslavia

for for representation, culture and art and culture representation, form of the heterosexual couple” heterosexual the of form 8 “

imagined communities imagined

provide particular shared experien shared particular provide when belonging to an imagine an to belonging when tivals

lity as a matter of representation based on based representation of matter a as lity disorientation” sociability

ic uhbd adlf os not does life and body such since

emerge important both for theoretical and and theoretical for both important the formation of a regional queer queer regional a of formation the named he same direction brings about about brings direction same he ubjectivity. .

I am interested whether they whether interested am I as

the

in everyday speech) or of of or speech) everyday in (2006, 19) (2006, sites of intersecting desire intersecting of sites ue Zge Festival Zagreb Queer ”

of queerness post

, I will use will I pter 1 pter respectively. -

Yugoslav that may create create may that

(

Ibid. refers back to to back refers

d community community d is devoted to devoted is

ces allows ces ( ) Ahmed’s . Ibid.

. In my my In .

urban urban They They :65 fit – .

CEU eTD Collection with some the and methodology my both guided has that archive methodo appr ethnographic qualitative and/or through queeringvisuality. communicat may images which through ways two identify I normativity, (hetero) exit to us invite images queer that suggest I While Mitchell’s art appreciatingapproachesas and post their todefining the festival aswell field, queer a of experiences embodied and affects of perceptions myinterviewees’ contextualize to meant is chapter the of framework analytical Bakhtin’s through approached is festivals queer of time conceptualized variably these of potential subversive The heterotopias. of category through particularethno the within marginalization heteronormative local the of that and space queer global the in belonging transformative see to possible is it extent what to explore shall the of discussion the – analysis of of analysis

all analyzed 7. inChapter n hpe 3 Chapter In I explored is time and space queering in interest analytical the 1, Chapter Throughout Catr I ics vsblt ad iult i rel in visuality and visibility discuss I 2 Chapter n oia cnen, wl d to hns First things. two do will I concerns, logical ethical (2005) the creation of a of creation the - nation states.

concerns arisingconcerns feminist researc from concept mlctos f the of implications

I discuss the methodological issues arising from my interdisciplinary interdisciplinary my from arising issues methodological the discuss I yblc geographies symbolic

- of desires of images of desires of

both in the sense of challenging the geo the challenging of sense the in both

ah I adto t describing to addition In oach.

broader network of post of network broader

ocp o “regiona of concept e such queer messages: through visibility politics politics visibility through messages: queer such e

festival week; of the mobility and networking in in networking and mobility the of week; festival 9

in order to order in Bktns hoooe ad Foucault’s and chronotope, Bakhtin’s , post (1984b) - Yugoslav queer festivals as moments of moments as festivals queer Yugoslav I xlr te eahr of metaphor the explore I , conceptual framing. Second framing. conceptual h principles - Yugoslav queer festivals, and to the the to and festivals, queer Yugoslav

discuss what queer images “want”. images queer what discuss

queerness” l concept of the of concept to t qeres dr queerness to ation y aa sucs n main and sources data, my . -

political marginalization marginalization political o qer research. queer for carnivalesque - - Yugoslav queer space instances space , I engage I , the awing

visual . The The .

on on

CEU eTD Collection 218) (2010, 91 1996, Spencer and Barnard (see 6 7 the at exhibited art the to connection in art queer interlocutors’ my time empowering potentially a as post memb and volunteers, and fieldwork Ipolitical potential ofthe insome see theartat works Banquet I visualities. carnivalesque and queer of together regional performance monument. queer a of visuality it reading street posters Festival analysis of community between in struggle organizational (3) and chronotope; festival of negotiations organizational conc the

I am interested in “emic” ethnographic accounts in the sense ofthe term sense the in accounts “emic”ethnographic amin I interested

situat

Zagreb F Zagreb - erning (1) process of festival organization, including how the art works are selected; (2) (2) selected; are works art the how including organization, festival of process (1) erning Yugoslav queer festiv queer Yugoslav performance as an instance of instance an as performance In Chapter In 6 Chapter Chap

professional gis Fual’ caatrsis f eeoois wt a am o con fr the for account to aim an with heterotopias, of characteristics Foucault’s against

subverts the normative reading of Croatian historiography through straight through historiography Croatian of reading normative the subverts the

t - wo sources: festival manifestoswo sources: festival legitimization and the institutional field. All three All field. institutional the and legitimization ters estival, and of its programs its of and estival, h Banquet The interpretations the

over the ten years of its existence its of years ten the over 4

, emic 7 nlzs visuality analyzes 5, and 6 and 5, interviews interviews , I analyze I ,

ers of audience. of ers and amateur actors. This collaborative theater piece enabled bringing bringing enabled piece theater collaborative This actors. amateur and 6

understandings als and als

represent y h Baiin group Brazilian the by

– of post of 94)

I made made I the the

, and in “emic theory” as used in queer ethnograph queer in as used in and “emictheory” , h ohr ic I ae chosen have I piece other The

- their experiences of the of experiences their space for queer participants. queer for space reception of reception -

Yugoslav queer art at regional festivals, in particular in festivals, regional at art queer Yugoslav the

subversive regional subversive f h Zge F Zagreb the of I explore my interlocutors’ mobility across the field of field the across mobility interlocutors’ my explore I with

of . In Chapters 4 and 5 and 4 Chapters In . actual

and programs. the the wny participants: twenty 10 Queer Zagreb Festival Zagreb Queer

analysis enns f ue art queer of meanings Queer Zagreb Festival Zagreb Queer .

I will provide will I read Queer Festival Zagreb eto Officina Teatro estival

of the of

h time the

queer Queer Zagreb Festival Zagreb Queer in social and cultural anthropology cultural and social in

of the of

written and visual materials of materials visual and written ae o te nlss of analysis the on based , I ask three sets of questions of sets three ask I ,

Furthermore, t Furthermore,

r y ejo Zorica Željko by art

etvl raies artists, organizers, Festival to the analysis of a p a of analysis the - pc oee u by up opened space se issues are based on the the on based are issues se

analyze analyze

based on based n olbrto with collaboration in – . As a result a As .

the y by Tom Boellstorff yBoellstorff Tom by .

r eiiin of definitions ir is he focus is on on is focus he the the

chronotope

theatrical , extended - articular Chapter . In my my In . looking looking The the at

CEU eTD Collection space the Queer Zagreb Queer ,

and art works and

, in relation to its negotiations through travelling, experiencing experiencing travelling, through negotiations its to relation in , ,

from the perspectivefrom of the F the 11

estival participants.

of its time its - CEU eTD Collection queerness the about just not questions: potent but simple ask to them allows and dichotomies, theories” and ( politics of translation “local of practices to refers locality” Europe Eastern of discussion queergeographical toa ofthe understanding region. Stil mobility. festivals among networking a di by of published negotiation The Yugoslavia. former to regional countries successor in visibility queer term/politics/ the of travelling the at research follows what into space geopolitical of questioning it create pre the imagine they so: suggests queer Yugoslavia former to an aesthetic this guiding question main The 1 Ibid.

S ITUATEDSUBVERSION :13) ness The question of belonging to a region relates to Kulpa and Mizielinska’s Mizielinska’s and Kulpa to relates region a to belonging of question The /local understanding /local queerness s Ter einl lclt” de “locality” regional Their . A ? one post one d shared politics of sexual and gender non gender and sexual of politics shared d

l, it is important to consider the theoretical difficulties that appear with linking with appear that difficulties theoretical the consider to important is it l,

I will navigate between t between navigate will I is gac at glance first oa ad einl eokn o sxa pltc. hi cnet f “Central of concept Their politics. sexual of reworking regional and local ide frn qer festival queer fferent tte ipii in implicit ntities -

Yugoslav queer festival queer Yugoslav . hog i through

And if so, is it legitimate to refer to such commonalities as regional regional as commonalities such to refer to legitimate it is so, if And regi ons, thinking (about) (about) thinking ons, , or in the participants’ and organizers’ views about space and and space about views organizers’ and participants’ the in or , and h last the tnie ewrs f ersnain However representation. of networks ntensive practicing of queerness can be can queerness of practicing c viously shared geopolitical space in d in space geopolitical shared viously a hapter esthetics :S

h term the e yas f lesbian/gay/queer of years ten he regional meanings regional he a wl a LB organizations, LGBT as well as s TAGINGREGIONAL QUEERNESS

s o s whether ask to is -

etr ad etblzs omn geopolitical common destabilizes and centers of queerness when looking at the new “ new the at looking when queerness of , and the theoretical implications of configuring of implications theoretical the and , 12

queer einl qu regional

- normativity in the successor countries countries successor the in normativity n te po the and it is possible to find a common common a find to possible is it encountered in encountered e isl i t b dsusd In discussed. be to is itself eer identified in the “manifestos” the in identified litical

festiv ifferent terms, but terms, ifferent uses l in als

my in practices of of practices in

f di of ethnog , given the the given ,

the region region the w viding a a viding ave” of of ave”

(2011 raphic

co - )

CEU eTD Collection clea a without them join but to destined supposedly States, Member EU between squeezed space a “basically as graphically quite Brussels’ by Balkans’ Western ‘the “christened region not still states EU European the of in grouping accepted political a of description a as perceived been (see: has Balkans Western the of Slovenia without relations/regions/balkans/ Albania with Yugoslavia 7 term t that notice to therefore surprising it find construct politics accompanying mostly Todorova the of boundaries motivation political unclear times at and disputable remains region this in membership U Wester the of region the to corresponding approximately as seen territory form of countries it regions, of understanding geographical and account into Taking 1.1 ( West?” the is “Where ask: also but cannot they (Sic), CEE?” is “Where asking boundarie When region. the and location the about also but time, European Eastern Central of

he Balkans in the Balkan states Balkan the in Balkans he Ibid. The flexibility The nion

Imagining

Western Balkans, it is Balkans, it Western :12)

definition does not include Slovenia into t into Slovenia include not does definition

eoaie onttos I hr analysis, her In connotations. pejorative taken up by the states successors to the Socialist Federal Republic of Yugoslavia is Yugoslavia of Republic Federal Socialist the to successors states the by up taken .

(2009) of defining a region a defining of Regional – er Yugoslavia belong to, and t and to, belong Yugoslavia er

Western Balkans Western a son o blnig o the to belonging how shown has more than a reference to a geographica a to reference a than more

f eogn t regions to belonging of

potential problems with connecting such unlike concepts as queerness queerness as concepts unlike such connecting with problems potential ), and the changes it may undergo with Croatian entering the EU. The EU definition EU The EU. the entering Croatian with undergo may it changes the and ),

equally Queerness Whilethe Region Queering is illustrated by the EU definition of the Western Ba Western the of definition EU the by illustrated is

this region as the undesirable “O undesirable the as region this themselves

likely for the citizens the likely for

region

there is there

after .

13 is necessary to briefly look briefly necessaryto is are While the language of language the While http://ec.europa.eu/trade/creating o

Croatia’s his region, his re a o note to

- lack of lack fra l region. For instance, Igor Štiks Igor instance, For region. l

h disco the me the very concept very the me “ Balkans

of Croatia or Bosnia, for example, for of Croatia Bosnia, or

n h probable the in EU r accession timetable” timetable” accession r common consent common but

accession in July 2013. July in accession

resounds ” re of urse it does Albania does it ther Blas T Balkans. n 7

. public politics public

” h volatility The

of Europe. of at the region that the the that regionthe at

Balkanism

- opportunities/bilateral redefinition

of lkans region lkans ih ambiguous, with

on belonging to belonging on

( the region the Ibid. , (2011) e E he although :123)

I did not did I s of this this of s uses the uses urope and its its and n the and

- . sees the the sees

of the the of Maria

former former . The The .

the the an to -

CEU eTD Collection long of achievement practical “symbiotic as regions considering of history and geography in tradition the influenced 9 with up keep to and it, uses which ofthe society and performance of occurrence “Usage and indications: 8 humans debu made but planned by“transformed architects a into and space bywalkers” sp while stability”, of indication Certe 77 (1995, identity” with concerned as space and place between drawn differenceemerging the is thinking this corollaryto The theory. based process locality time and place specific sharing and together living of phenomena” collective reactionary. discourse a forging Balkans the in geographyqueer instance, has counter the to relation in countries their of speak

Indeed, for Mitanifor Indeed, Harvey relates to the work of Vidal de la Blache, a Blache, la de Vidal of work the to relates Harvey - maturing human cultural endeavors in given environmental settings” settings” givenenvironmental in endeavors cultural human maturing k te much the nks au David place, of meanings about Debates .

(2011) One could say that the various cr various the that say could One that naturalizes naturalizes that – through the through 78) - dis David Harvey David continued Harvey . I . , against , . According to him, to According . course nfluential nfluential (2007) studies - Marc Auge, Marc sd yh f h “ the of myth used

refers practices of everyday life life everyday of practices , the changes in the meaning and usage of “Balkan as Sign” serve as far Sign”serve as “Balkan ofusage meaningand the the changes, in f ertr ta atclts lc ad oaiy s o necessarily not as locality and place articulates that territory of of “belonging to Balkan” Balkan” to “belonging of

( functioning as which we which Ibid. provide a basis for understanding understanding for basis aprovide , aggressive and different from what he calls he what from different and distinction ’s

to the long the to

:172) (2009)

Balkan

for instant, argues that argues instant, for c i “ is ace

can conceptualize conceptualize can that have been created through historical through created been have that

a place a geographical geographical

ertra bhvo ad t acmayn pltcl an political accompanying its and behavior territorial

between place and space is that developed by Michel de Michel by developed that is space and place between

the an influential (Sic.) will be a clue to understand the chan understand cluewillto a (Sic.) be - lasting tradition of thinking abthinking of tradition lasting territorial practiced region of South of region itical models of models itical

pc, ein n trioy n post in territory and region space, entails entails

14 nineteenth of

s icse b Kio Mitani Keiko by discussed as

concept ” part

impera “order” of elements and functions as “an as functions and elements of “order” cultural “self ( regional queer regional Ibid - icular communities icular Balkan Balkan century French regional geographer, who has has who geographer, regional French century

a place is “ is place a is instrumental in how to approach approach to how in instrumental is

. spatiality E

:117) the lack of of lack the tive”

of regions as “ as regions of astern Europe. Europe. astern the non the will be our future task” will future our be (2009, 171) (2009,

( as - F Ibid. identification” r i, sre i a place a is street a him, or

- try to produce a dynamic, dynamic, a produce to try instinctual . places of supermodernity supermodernity of places relational, historic relational, What is at stake here is here stake at is What agreement ) out regions regions out . .

ge of language ge 9 spatially distinctive distinctive spatially . On the other hand, hand, other the On This way This ly specific ly - oens and modernist and innate to to innate and

on belonging on (Ibid., 310) (Ibid., (Ibid., 306) - not reaching reaching (2007) , Harvey , as givenas

al, and al, modes modes , for for , .

8 d .

CEU eTD Collection remade” and made continuously are worldsofexperience how and obligation and authority legitimacy, and ideology meaning, “ it such, simpli a as function to able be order in unambiguous” and simple “relatively as interpreted rights” or autonomy, individual identity, cultural “ into territory the transformed 10 place” a around lines “ that is Massey to According latter. the region the to place 151 (1994, and is place imagined “ offer of point na “ a for nostalgia certain is reactionary necessarily way, of territory communal a existence into putting and capitalism, are movements these the available back to ter of institutionalization consequences military progressive c progressive

t Harvey also directs us to David Delaney’s useful clarification of the way in which this process had had process this which in way the of clarification useful Delaney’s David to us directs also Harvey ionalism, romantic search for “heritage” for search romantic ionalism, Occupy movements Occupy non ing a way to cope with anxiety caused by constant change. In contra In change. constant by caused anxiety with cope to way a ing Doreen Massey’s Massey’s Doreen

However,

the this question this os uh f u tikn fr s n coe of r bcrs (relation obscures or off closes and us for thinking our of much does - . xlsoay alwn for allowing exclusionary, iw pae is place view, Saskia Sassen Saskia – ( 17 Ibid. 152) th oncept of place” of oncept

:174) century . However, she However, . not necessarily defined by boundaries by defined necessarily not hr ae lentv mds of modes alternative are there , considering considering , .

, which effects immediate consequences for creating differences b differences creating for consequences immediate effects which ,

of ‘definition’ of rnfrig ulc space public transforming 10

( (1994) sense of p of sense is reshaping our understa our reshaping is Ibid. ocpulzd as conceptualized . (2012) ri a device for simplifying and clarifying something else, such as political authority, authority, political as such else, something clarifying and simplifying for device a

oilzn bhvos and behaviors torializing qui :172 te inspiring for my my for inspiring te

, the main problem with problem main the , work that thinks place thinks that , for instance, for ,

the troubles that geographers have b have geographers that troubles the in – dicates the difficulties in expa in difficulties the dicates 173) lace”

has almost alw almost has

mult o n .

in the age of globali of age the in H (Del reclaim iple epss h gnaoy f h cdfctos and codifications the of genealogy the exposes e

ie, tbe tied stable, fixed, aney in in aney and intolerance towards the outsider the towards intolerance and 15

dniis s el s ofit ad differences and conflicts as well as identities claims that the practice of the of practice the that claims

ing not nding of the of nding -

con Ibid.

ays been reduced to the issue the to reduced been ays imagining hy r cetn a oe n h hat of heart the in hole a creating are they

hnig about thinking as static but in process. in but static as modes of representation representation of modes et f region of cept :173) . On the contrary, it strives to be to strives it contrary, the On . a geographical . According to Delaney, the territory gets gets territory the Delaney, to According . zati

o clear to term n ue f ertr already territory of use and vital nd on ing

lc adlclt a no as locality and place has been associated with with associated been has een having with defining defining with having een territory importance Mse analyse Massey . al) questions of power and and power of questions al) a -

u iette, n as and identities, cut concept of the region the of concept prog st, fied metaphor, and as as and metaphor, fied ressive model of model ressive

. By occupying, occupying, By . Massey This differently This Indignados ht e traces he that . I . . From this this From . of drawing drawing of n a similar similar a n offers a a offers etween etween s how how s open open

and t

CEU eTD Collection conce the Woodcock, to According belatedn (2011) post of figuration loaded politically a with intersection space of enabled by thepro understandings new the also and engage people queer which in postmodernism inheritance” “ model, normative connection in place/space normativity theorizing on out missing completely for pr for Hal (2005) and sexuality around spatiality” congeal that relations power complex the of some “unraveling for “geograp of grounds the constituted have space and place of meanings on debates the that estimate diversity. sexual to open is that difficult reconceptualize to t is It “ and outside, and inside eprl rms f orei rpouto ad aiy longevit family, and reproduction bourgeois of frames temporal esa critiques berstam ivileging the category of class, of category the ivileging e practice he

provides a much a provides h n The region the queering understanding, my In quee as ae h cnet f ht hs p this what of content the bare lays ess” hical imagination”, but propose the research on “geographies of sexualities” as vital as sexualities” of “geographies on research the propose but imagination”, hical recourse to recourse Ii. 15 (Ibid., . In .

r time r and , ( to o qer time queer of otion Ibid. contrast, Halberstam’s contrast,

duction of queercounterpublics” duction f rwn budre te that then boundaries drawing of :6) refers to the modes of living time time living of modes the to refers the – , postmodern geographers in the neo the in geographers postmodern 18)

time and space that space and time osat aln be falling constant and - needed impetus for theorizing space not bound by heteronormativity by bound not space theorizing for impetus needed construc . .

as progressive, multiple A

qu queer concept of place/space of concept queer e space eer ting a counter a ting Lynda Johnston and Robyn Longhurst Robyn and Johnston Lynda

pt n post in universalizing the global at the at global the universalizing post analysis is framed by framed is analysis

- hind sociali s ikd to linked is - is Yugoslav region region Yugoslav

16 very much li much very - positi

of sm ost

should should ( and fluid. h mr avne “ advanced more the

on between ‘us’ and ‘them and ‘us’ between on bid. makes reflects the power of the West to define to West the of power the reflects - in post in soc

) “ - ait ie tns o: “ for: stands time ialist . - oils tm. hno Woodcoc Shannon time. socialist h place the

entail Marxist tradition Marxist

nked to queer subjectivity queer to nked - developed region the of concept the modern societies modern paying paying

is further complicated by its its by complicated further is imagining territory as space space as territory imagining - making practices within within practices making expense of the local, and local, the of expense careful attention to non to attention careful y uih Halberstam Judith by (2010) , iksft, and risk/safety, y, Europe

uha Harvey, as such , to sexuality and and sexuality to

that fall out of of out fall that , for instance, instance, for , ’ ” ”

( Ibid. ( Ibid. capitalist . In her In .

:152) more more :64) k - . . .

CEU eTD Collection loaded its escape cannot region the of concept the of utility the unresolved: remains with queer of t However, strategies Macedonia. and Slovenia Serbia, ofCroatia, Bosnia, in festivals multiplicity apparent the in ground political and affective shared the modes such identify they which of result the if region of concept terms in talk rather queer of concept the preclude region a of construction the in entailed violence) of example community festivals non building of practices ofhomogeneity”notions of post post Skalnik Peter post understand studies anthropological tr singular the behind lagging European t belongs Europe Eastern and Central that time and space the festival - socialist Europe socialist

practi h cnet f einl queer regional of concept The The .

t s tl to still is It onre “ countries

- project of creatingprojectconcepts progressive, queer of ofth making practices in relation to the category of category the to relation in practices making e of ces queer time/spa queer alt (2011) raie as f hnig time thinking of ways ernative

a nd the the nd post

of queering the queering of

, for instance, frame their edited volum edited their frame instance, for ,

of imagining queer belonging to the region the to belonging queer imagining of different create that that in a stagnant moment of time before capitalism and after socialism, socialism, after and capitalism before time of moment stagnant a in as studying the “varied legacies of state socialism” while “debunking “debunking while socialism” state of legacies “varied the studying as -

Yugoslav festival communities communities festival Yugoslav - be normative questions actual region actual ce lrfe whether clarified ; and if the drawing o drawing the if and ; a - etr o Erpa development” European of jectory socialist geographysocialist and temp

identita public cultures public region symbolic

allows me to enquire in the rest of this chapter into into chapter this of rest the in enquire to me allows - ? socialism in a less embattled way. Laszlo Kurti and and Kurti Laszlo way. embattled less a in socialism For this purpose, the following section will will section following the purpose, this For

rian practices as such. as practices rian instead of instead 17

geographies -

sp hs concepts these ace

and visuality and f boundaries (that links categorization to categorization links (that boundaries f r isiig o m rsac o the on research my for inspiring are regional que regional nae i engage s

the region; if region; the of queerness. In so far as we can can we as far so In queerness. of the p the e on anthropological research on research anthropological on e o, and places the Central Eastern Eastern Central the places and o, orality e region.e

, it , r ueu fr thinking for useful are ossibility of merging it with it merging of ossibility aro qern te region the queering n

In other words, should we should words, other In

er und testifies to the vitality of vitality the to testifies (Ibid., 1) (Ibid.,

( – Ibid.

questioning both the both questioning

post regional queer regional he question I began I question he :65) - . Yugoslav

Some other other Some explore

quee

is an an is s a as

of r

CEU eTD Collection art. Petrović Novica and Djaković Zorana and volume, same the Drapac Vesnaby chapter a see Yugoslavia, former to countries successor the to relation in geographies Maxwell’s geo of interdependence describe to geography 11 Que visibility. of politics in space and time common S in festivals 1.2.1 those three “ indivi of programming around created geographies queerne n (Queerosl the relate will I 1.2 aadopt with dose it ofsuspicion. force. exclusionary its and traces, historical and geopolitical ormativity

My understanding of the term “symbolic geographies” is informed by its usage in in usage its by informed is geographies” “symbolic term the of understanding My

eroslavia HowPost Symbolic Geographies There are various symbolic geographies that emerge out of out emerge that geographies symbolic various are There

ss (2010)

va post avia, in post in . points oftransport’’ points My

rjv, arb Belgrad Zagreb, arajevo, in the context of the Belg the of context the in

edited volume on the history of East of history the on volume edited - Yugoslav Yugoslav Arts Festivals

- main interest interest main

Yugoslav queer art and politics and art queer Yugoslav yblc geographies symbolic -

oils qer etc queer socialist n h floig I ru ta te uto the that argue I following, the In ul festivals dual ifrn way different

in ifrn fsia cmuiis pltc o nmn and naming of politics communities; festival different

is encountered in C is encountered in

this this .

T , jbjn, oi a ad Skop and Sad Novi Ljubljana, e, sub rade cultural festival, or for for or festival, cultural rade he - itrcl n afcie map affective and historical . ) 11

chapter s analysis of interviews which as which interviews of analysis

o atclr taeis f neig r exiting or entering of strategies particular to n ae nomd y aiu apoce to approaches various by informed are and of T 18 - ranslat West symbolic geographies. For discussion of symb of discussion For geographies. symbolic West

region

is which (2004) h

apter 7 h tasot n ex and transport the e l queer al

“

is visible on three levels: symbol levels: three on visible is Queer” on symbolic geographies geographies symbolic on .

pian tendencies of longing for for longing of tendencies pian

Therefore - in making practices. See Alexander Alexander See practices. making

post post the post the - socialist queer socialist - I il otne to continue will I , uolv countries Yugoslav e T je. change of regional regional of change contemporary cultural cultural contemporary ked about each o each about ked - Yugoslav queer queer Yugoslav e imagine hey in contemporary contemporary in (2011)

in the in olic olic the

ic ic in a f

CEU eTD Collection by conceptualized in Europe. and of Europe. to fieldwork on focus that Queeroslavia aspect: geography symbolic Yugos how to similar allegedly ideologies, certain 2) 2009, (Dioli utopian. conceptual as labeled but work academic has flyers festival the on written as place, took 2005 in Festival the region symb queer possible constitute festival Zagreb the of context

post Queeroslavia

analyzed Gay Yugoslavia - The space experienced by the by experienced space The by Inspired socialist queer socialist “Queeroslavia” Yugo

I propose that t that propose I Queeroslavia Film a ,

as an imaginaryspace ofqueer belonging. zs h smoi gorpy f Queeroslavia of geography symbolic the izes I related queer will will

- the travelling of of travelling the in Ljubljana in otli via nostalgia . , However, as she points out, nostalgialinks out, points she as However, never was never

suggest involved in involved sc as such , queer queer

Queer Zagreb Festival Zagreb Queer il’ approach Dioli’s

ahr n oiia ad utrl activism, cultural and political in rather

s non a as is simultaneously imagined as a safe and inclus and safe a as imagined simultaneously is

ness reflects

is he time and place and time that thereis that

the name of the country and space where the first Queer Belgrade Belgrade Queer first the where space and country the of name the

(Dioli 2009,2) has constructe and Queer Zagreb Festival Zagreb Queer

the queering idealizing a shared space beyond national boundaries and and boundaries national beyond space shared a idealizing - a que Balkans omtv and normative “ ue Blrd Festival Belgrade Queer post er theory and politics in politics and theory er

another set of of anotherset o yblc egah o Queeroslavia of geography symbolic to Queer Belgrade Festival Belgrade Queer - the Yugoslav longing for queer tra queer for longing Yugoslav

queer concerning d its image image d its .

space and time and space organizers in its firs its in organizers lavia 19 ness

democratic

used to be. The reason for pe for reason The be. to used ,

has consistently worked with the concepts the with worked consistently has

while, for instance, instance, for while, relevant other festivals. other

as the oldest gay film festivaland lesbian as theoldest

of post of step post

symbolic geographiessymbolic

post s rnntoa, nostalgic transnational, as (Dioli 2011) (Dioli (

Ibid. olic geographies that re that geographies olic especially

t year in 2003 as the space of of space the as 2003 in year t community as Queeroslavia as community - no h ftr is future the into Yugoslav - Yugoslavia as Yugoslavia -

socialism, the Balkans the socialism, Based on my ethnographic ethnographic my on Based :78) ive place for queerness for place ive nsnational citizenship” nsnational the the .

Dioli Dioli in in . quee Festival of L of Festival Irene Dioli Dioli Irene cultural I a I , r r visibility to a to visibility r ception

20, 2009) (2008, not rooted in in rooted not ,

its utopian utopian its dditionally in addition in

festivals

- (2008) esbian of this of frame

and and and

is is

CEU eTD Collection and organizers the of preferences 2) Ljubljana2010, Film Gayand Europe” in film lesbian and gay of festival oldest “the as 1984 in started festival the establishing sentence, one of catalogues festival the of each of Impressum the organizers’investment with (conflated “Europe” to the of organizers future festival’s his in discovered be to possibilities with loaded term” “hybrid a as queer” socialist gl dismantling for tool conceptual a becomes diffe political and fo mode critical a as geo a as both functions socialism “ ( post programming and Dobrović beyond nostalgic, these while that out point re chapter in detail in emerge geographies symbolic two these of meanings Local “ Ibid. oeht oe iea tha liberal more somewhat post lation to analysis of festival manifestos festival of analysis to lation - :132) socialist queer socialist ( n lvna Queerosl Slovenia, In belonging of margins the extend geographies symbolic these of both Potentially, Ibid. post

(2004) they . This choice is justified by the perception perception the by justified is choice This . ) - . Yugoslav LGBT communities. communities. LGBT Yugoslav

also

explains that the “ the that explains Festival of G of Festival ecs r rdcd o minimum” a to reduced are rences make r “ r ”

and later on later and -

deconstructing the global world as a a as world global the deconstructing in the Europeanness of their festival is detectable from the inclusion in inclusion the from detectable is festival their of Europeanness the in socialist queer (art queer socialist

the F

te oit model” Soviet the n formulation avia estivalfunders. for more legible theartand for world ay and Lesbian Film Lesbian and ay h country’s the . - Parallel to this, however, the programming choices and film and choices programming however,the this, to Parallel political chronological marker for time after socialism, and and socialism, after time for marker chronological political

pcaos remain spectators in 2007 in em t b sbl rjce truh nitne f the of insistence through rejected subtly be to seems geographical s

), is indeed the “ the indeed is ), and programming strategies. Here it is important to important is it Here strategies. programming and render

as that of that as 20

However, the the However, ebrhp n t in membership

obalizatio

area”

einl queer regional (

Ibid. in Ljubljana on on Ljubljana in

n osat ilge ih h regional the with dialogue constant in “

he has in mind, both in writing about writing in both mind, in has he ex ) . Interestingly, for for Interestingly, .

n - ter Yu ( h peet a elgs “post neologism a presents he , f uolv oils a being as socialism Yugoslav of Ibid. world in which all cultural, social social cultural, all which in world ue Zagreb Queer ritory of the former Yugoslavia” former the of ritory ”

(i.e. former Yugoslav) queer Yugoslav) former (i.e. :133)

e uoen Union European he partially less utopian and and utopian less partially their festival’s their Wie post While . (Festival of Lesbian of (Festival

program Dobrović s 5 and 5 s

- belonging belonging

socialism

director director ). post ,

6 in in 6 The The - - .

CEU eTD Collection festi commonalities. the under grouped a that establish 1.2.2 Feminae as such program their of part as art/film festival art Lesbian l’A pour L’art gay/lesbian/ other several the 2000 in start its since icon. religious and cultural Macedonian a as Teresa Mother to dedicated square the of normativity However, authorities. in place organization LGBT the by organized festival art the the InMacedonia, well. as organized been have events other above, out LGBTregional films queer

queer space and time and space queer val

The PoliticsThe Nami of since they program regional film retrospectives and give prominent place to showcasing to place giveprominent andretrospectives film regional program they since

Before going into the details of the strategic choices of self of choices strategic the of details the into going Before the to Inaddition T or named it differently (gay and lesbian festival, a festival, lesbian and (gay differently it named or

in Zagreb,in since Croatia 2007. h cnrl qae f h Mcdna cptl u ws denie was but capital Macedonian the of square central the he first he ction tog te etvl hv coe dfeet ae, n y eerh hy are they research my in names, different chosen have festivals the lthough The organizers may have either explicitly either have may organizers The Queer Sarajevo Festival Sarajevo Queer

lesbian festival in Novi Sad, Serbia organized in 2012 for the 5 the for 2012 in organized Serbia Sad, Novi in festival lesbian . n arb Cota ic 21, n fmns fsias etrn queer featuring festivals feminist and 2010, since Croatia Zagreb, in

in Ljubljana a Ljubljana in olcie noun collective s h frt half first the as

instances of instances of feminist and queer art in the region and beyond. beyond. and region the in art queer and feminist of queer festivals such as as such festivals queer ng

lso belong here a here belong lso the -

successful reclaimingof qer festiva “queer Pitchwise

in 2008 in 21

Merlinka attempt,

a in Sarajevo, Bosnia since 2006, and 2006, since Bosnia Sarajevo, in s nd the the nd

events contributing to contributing events geographies Masso ls” chosen to call their festival their call to chosen narchist art festival) but festival) art narchist

Red Dawns Red it still managed to question the the question to managed still it in Belgrade, Serbia since 2009; 2009; since Serbia Belgrade, in in order to underscore their their underscore to order in

n 07 ws nedd o take to intended was 2007, in bythe - naming, I would like to like would I naming,

Queer Square Skopje Square Queer d permission by city city by permission d ( Rdeče Zore Rdeče

art

the

There have been been have There festivals

production of of production almost ) festival )

a th singled

queer time; Vox

all , CEU eTD Collection 26. in the Footnote as indicated Festival catalogue, 2006 the of 12 a remembered now is Bosnia Box T safety. ensure not cold organizers was turning a of promise word pl the sounded using givingT a it local spelling. queer Serbia, Ljubljana tomaintain con “older” the with remain to opting queer Belgrade; Zagreb; in camouflage and subversion festiva Ljubl of critical highly are they(even when about event the perceive is ofthey what importantthe most denominators themselves see

If not indicated otherwise, all the translations in the text are mine. However, the “manifestos” in theca in “manifestos” the However, mine. are text the in thetranslations all otherwise, not indicated If yu lnusi gsue the gesture, linguistic ayful first ” attacked by the Wahhabis on its opening ni opening its on Wahhabis the by attacked

jana Queer Zagreb Festival Festival Zagreb Queer (emphasis added) (emphasis kvir Srin term Serbian a to relation in interpreted be can ls In Sarajevo, Bosnia, queer Bosnia, Sarajevo, In i term, English actual the translate to how of problem linguistic the for As s the that propose I subsection, this In

Queer Sarajevo Festival Sarajevo Queer similar tothesimilar English term as well ).

(queer)

was first transliterated first was exhibit

misinterpreted by its opponents its by misinterpreted the term the ,

as if turning itself turning if as - around has around

ing Kvar

as a as tinuity withthe hist come both in Croatian and in English, in their translation. The exception is the is exception The translation. their in English, in and Croatian in both come

, as , que he second

respo (

s er art er Malfunction are frame queer in a box a in queer

in 2008 was “okreni okvir” “okreni was 2008 in

changed

practices of of practices t was first conceptualized as an action: the action: an as conceptualized first was nse to the danger of visibility. of danger the to nse he organizers of the of organizers he

and/or e festival he event ofthe

as (okvir the frame around. However, the However, around. frame the kvar kvir their ) . drastically

ta te etvl at to wants Festival the that ) defining and relating and defining

, which which , used as a playful, provocati playful, a as used ht o ol mat oehn smlr o but to, similar something meant only not that ory of LGof ory 22 naming the festival event as lesbian and gay and lesbian as event festival the naming

. In addition to the reference t reference the to addition In . ymbolic

different naming choices: queer choices: naming different

ght and could not take place in public as the the as public in place take not could and ght a renamed was as Queer F Belgrade a term of term a refigured

since

organizing inSlovenia.

Festival of Festival egahe o post of geographies

the first the

(”

endangering in Sarajevo, wh Sarajevo, in endangering the foreignness of the word by word the of foreignness the “ turn Queer

to the term queer term the to The beginning of q of beginning The estival the frame around”) frame the G Queer Sarajevo F Sarajevo Queer ay and Lesbian Film Lesbian and ay aaeo Festival Sarajevo

ve general strategy in strategy general ve linguistically indexed indexed linguistically unsettle

was opening motto motto opening - uolv queer Yugoslav o the “box” of “box” the o

then named by then named by

used as used contains the the contains n Belgrade, n

as one of one as ueer in ueer talogues talogues 12 estival . In aIn . both n a in

ile o in in in f

CEU eTD Collection Slovenia). com queer the in normativity of one is to attribute agents travelling these that of recognizable as such “Merlinka” Žilnik’ Želimir name chosen is festival The time. same the at Pride Belgrade the for plans tentative the around generated e got it but 2009, September for analyticaland (4,6) chapters 5, discourse public Croatian the F QueerZagreb the about talked only media the as familiarity, main the in Zagreb could reach not Bosnian

the munity (Queeroslavia, (Queeroslavia, munity

organi influence the formation of different variants variants different of formation the influence

The travelling category of queer is paralleled with paralleled is queer of category travelling The Serbia, Belgrade, In F the Croatia, Zagreb, In (

perverseZagreb (hetero) the

, the organizers opted for a name which is readable as queer but not instantly instantly not but queer as readable is which name a for opted organizers the , apparently desire lines zers, artists and audiences and artists zers, iy qae uig h F the during square city

movie, s homage to to homage the public at the the estival normativity, successor countries to countries successor .

did notregister with theactors did as a cultural spaceculturala as

(Ahmed 2006, 19) 2006, (Ahmed ) along with the English “Queer Zagreb”“Queer English the alongwith ) abe Ass Marble Vjeran post Merlinka it means the actual the means it – .

- except for the queer art queer the for except 2008

socialist ventually postponed to December 2009 due to the anxieties the to due 2009 December to postponed ventually estival Miladinović “ wo a mree i 20. I 2003. in murdered was who , Queer Zagreb Queer , a new a , Queer Sarajevo F Queer Sarajevo

estival. the festivals the

of the cultural events cultural the of

sd th used

seems to have found its “highart” its foundhave to seems queer former Yugoslavia. former

that shape the symbolic maps of meanings of non meaningsof of shapesymbolicmaps the that 23 International Queer Film Festival Film Queer International

Merlinka, a transgender person and a theac Merlinka, transgender person However,

e or

DVD box with box DVD

approximate approximate .

e Dawns Red Festival I argue that the pull of the regional queer regional the of pull the that argue I sinc

estival works atclr o seii fsia or festival specific a to particular

e theorganizers, the constant mobilit constant the h Cota name Croatian the ” . . , as well as well as ,

Either it stages, a stages, it The dynamics of the regional the of dynamics The

Croatian anarchist queer feminism in in feminism queer anarchist

films and films on public banners that hu bannersthat public “ n calling their festival festival their calling n nastrani

translation s I will elaborate in elaborate will I s p with performances that that performances articipants as well

niche of sa of niche , y ”

n spite in

and travel and the meanings meanings the

or was planned planned was

queer nastrani

fety f its of tor in ,

ling the the

ng ng in in -

CEU eTD Collection outcome necessarily isnot automatic. rest” “the and world art Western cinema” world the of rest the and Hollywood “the between dialogue” cultural of “loci as function beyond, or Europe in festivals arts other also extension by and festivals, tendency this of part are festivals queer festivals film most at day the of order field emerging Weste or (US Western of more Eas Central in festivals film queer dismiss “elsewhere” international the from come elsewhere se per influence in ZagrebLjubljana Pride, Pride,orin region the queerness time. first the for Negro Monte in Podgorica to and time second the for Sarajevo festival the realize to attempt last the yearsafter three 2013, in Sarajevo transnati this of practices the exists, longer no network o beginning the at hopes and strategies exchanged and quee of network

a “space of flow” of “space a However, in the in However, dimension constitutive One Merlinka

’ in creating in also – ’’ ’’

where LGBT pers LGBT where (Harbord 2002, 59 2002, (Harbord nl fes onal includes of festival studies festival of r festivals of festivals r

il gi i 21 tk pae n place take 2014 in again will

ia ntokn is networking tival queer symbolic geographies symbolic queer the regional, transnational support mobilized around Pride parades in in parades Pride around mobilized support transnational regional, the context ;

a network of complex interrelations complex of network a post ons from ons rn European) origin” European) rn –

60) of globalization, the regional is not and cannot be cannot and not is regional the globalization, of of the world art production art world the of have clarified have -

Yugoslav countries Yugoslav of . Many .

During m the regional queer regional the

. Eas 2007) (Evans the

. Belgrade Pride So much so that so much So

regional communication regional tl, as Still, region travel to support and participate and support to travel region of the artists and art works/films at these festival these at works/films art and artists the of en Eur tern travelling of the the of travelling 24 y at fieldwork the

that US/Western European hegemony is the the is hegemony European US/Western that . The c The .

Owen Evans argued, the European film film European the argued, Evans Owen p fr hwn fls ht r “ are that films showing for ope t ny n egae bt lo rvl to travel also but Belgrade, in only ot (Ibid., 262) (Ibid.,

include f the queer festivals’ wave. festivals’ queer the f

n i ti rgr te post the regard this in and that , when ultural form of the festival makes it it makes festival the of form ultural Kevin Moss Kevin has ( s, for instance, for s, Ibid. Belgrade , always in “relationship with “relationship in always , the latter . However, discussions However, . Queer Sarajevo FestivalSarajevoQueer met several times, discussed times, several met Festival of L Festival of :24)

continue. An instance of of instance An continue. .

At the same time, this this time, same the At (2004)

Merlinka is not prohibited is not

the transnational transnational the esbian andGay

even seems to to seems even –

The regional regional The between

Though the the Though

etvl to Festival every year every - Yugoslav Yugoslav

the only only the 0 or 90%

in the in . . The the the

CEU eTD Collection English. in directly conducted artists foreign 13 2000) lot A geography urban and studies festival of fields the in debates recent the to relation in revisited t In 1.3 about art geo particular this in queerness living of specificities the the of festiv queer local of work re subtle the of awareness Ljubljanafestival, explains organizing with connected occasionally activist LGBT an Tatjana, films. LGBT regional “Western” of influence overwhelming the Film

All interviews conducted in Croatian have been translated into English by me, except several intervi several except me, by English into translated been have Croatian in conducted interviews All

his P

in Ljubljin , of recent of o

Queer Zagreb Festival’s Zagreb Queer and my queer, of meaning regional and/or local a for asked When willy space that with connection some have us of all Since interested. are people that, like something have we when interest content some or films some region Yugoslav t in here than bigger much is West the f in films these of films production of quota certain a have to need We

st eto, the section,

created -

Yugoslav QueerYugoslav F

the

nilly, it’s here, it’s happeningnilly, here, tous it’s it’s ana

work in queer theory is theory queer in work theoretical implications of queer space queer of implications theoretical

by local artists. by local , I learned from the organizers how their programming politics trybala their politics to programming I how theorganizers from learned ,

eprl and temporal ). But I think that think I But ). als. As we will see in Chapter 7 Chapter in see will we As als. - : imagining of the meanings and practices of queerness through the the through queerness of practices and meanings the of imagining

usage of a post a of usage estivals

t hat have to do with this region (…) region this with do to have hat

pta patcs f post of practices spatial

concerned with concerned ' C (…)

each year each films films hronotopes 25 I think we think I - socialist queer or queer socialist .

(Tatjana 2010,3) by

r h fsia ec ya. f course, Of year. each festival the or providing enough space and attention and space enough providing the F the the (Halberstam 2005) (Halberstam -

historical time and space an space and time historical , some of them refer to the strategies strategies the to refer them of some , are very are

estival is tryi is estival queering of space of queering - uolv ue festivals queer Yugoslav regional

13 connected to (our region) (our to connected

ng very hard to bring bring to hard very ng T

queer here is always a big big a always is here . his space (the post (the space his interviewees At the same time, same the At (Bell and Binnie Binnie and (Bell

to account for account to d talking talking d ews with with ews

show

nce nce the the the the are to - - .

CEU eTD Collection fasc perceived the ( to reaction Hitler as direct 1939, a 1, September was of date Poland” unfortunate invaded the “on festival Cannes the of opening first the Schwartz, to a is cooperation international 14 cosmopolitanism with identified culture” th of impasse the circumventing “ nation traced be can circuit. festivals arts and film internationalthe Eastern Europe. separate al It activism. and arts performative/visual researching comparatively existing the to ways several naming “identity “specialized”, as categorized 2008) Valck de and Loist politics queer to works queer present and/or with new (LGBTIQ social movements post of festivals appeal touristic their of accounts some Ibid. reborn

aall o h hsoy f uoen im etvl a poet o rcntuto, nation reconstruction, of projects as festivals film European of history the to Parallel :59) - states

Queer importanis Furthermore,it ” . (d) oe’ fsias r ainl n rgoa festivals. regional and national or festivals women’s 14

research fields fields research n 96 s h “ the as 1946 in A . back back cultural cultural - . . Vnsa Schwartz Vanessa s Yugoslavia is the is Yugoslavia

The field of festival studies focuses overwhelmingly on on overwhelmingly focuses studies festival of field The rd par Pride to the post the to Jhso 2005) (Johnston festivals are film or art festivals that call themselves so self so themselves call that festivalsart or film are festivals n equally fascinating history of festivals as competing political projects. According projects. political competing as festivals of history fascinating equally n . Within the realm, t realm, the Within .

–

the as well as claiming that an important part of what they do they what of part important an that claiming as well as

ds n q and ades the studies of of studies the - Second World War reconstruction of reconstruction War World Second is mjr postw major first etvl tde: t xed te ou o fsia suis by com studies festival of focus the extends it studies: festival

e Cold War and creating “a collaborative international film international collaborative “a creating and War Cold e

t to contextualize post contextualize to t act of of act plex festival forms festival plex

, feminist,anti Still, . (2007) er etvl focuse festivals ueer - based” politicizing queer use of public space public of use queer politicizing ( Ibid. queer festiva queer

he connects what that argue I T

ons out, points :57) festivals film European major the originof he o nerts w htet specialized hitherto two integrates so utrl events cultural subcategory of of subcategory r nentoa clua event” cultural international ar . ist tendencies of the 1938 1938 the of tendencies ist -

war). The Cannes festival was soon followed followed soon was festival Cannes The

of film and ar and film of - ls and festivals in the Balkans and in and Balkans the in festivals and ls Yugoslav queer festival in regards to regardsto in festival Yugoslav queer

the

n hi cmecaiain and commercialization their on LGBT/queer film festivals film LGBT/queer ans im Festival Film Cannes – y research My

iial t the to similarly Europe and its and Europe ts festivals ts the eie im Festival Film Venice film festivals film s various , contribute , and , and their ties their and - - consciously building and and building

indivi

net on intent logic of of logic

it relate LGBT

links dual s was and (cf.

in is s

CEU eTD Collection Festival Film Sarajevo Queer Herzegovina and etc.), resources i visible hand, one the On chronotopes. different two to belonging their that worldwide festivals film LGBT of upsurge an by followed since growth experienced time international major of attractiveness “geopolitical agenda” did” it strong a film through world the 1993 in siege under was city the Turan film international for attractiveness geopolitical its and pride, national of the of popularity the relevance” (political) current ne festivals newer o these Venice F Film post major other by - the space understands lder festi lder Although the smaller fil smaller the Although Valck de Marijke – n official postal stamps of Bosnia of stamps postal official n different response

aig the making Fdrl iity f dcto ad pr, oni o Mnses f ona and Bosnia of Ministers of Council Sport, and Education of Ministry (Federal

–

estival ht f h itrainl etvl ici. h qer im etvl ici has circuit festival film queer The circuit. festival international the of that vals grants them the “A status” “A the them grants vals

in internati in disposition

d h sail r epltcl add au” f “ of value” “added geopolitical or spatial the ed the current central symbolic status status symbolic central current the - war film and art festiv art and film war

– Sarajevo Film Festival Film Sarajevo

( aaeo im Festival Film Sarajevo

. The “city’s desire not to be forgotten”, according to Turan, has found found has Turan, to according forgotten”, be to not desire “city’s The . Ibid. it is it both both (2008) the first the lauded as important Bosniainthe cultural media. themost in event :107) in 1947,andthe onal, in fact, “the West’s guilt West’s “the fact, in onal,

, ( o two to

Ibid. on the other hand, other the on m festivals m

. points out that while the historical and artistic importance of of importance artistic and historical the while that out points ,

as stemming fr stemming as Frameline :136

festivals, they still may be seen as seen be may still they festivals, contemporary – 137) (Turan 2002, 94) 2002, (Turan als such as the Edi the as such als may

Berlinale both in the centrality of the event event the of centrality the in both

. 27

film f film no significant a into In a similar manner similar a In

need need

on the international film festival circuit, the the circuit, festival film international the on happened for just one opening night in night opening one just for happened om the viewers’ desire to “reconne to desire viewers’ the om estival in San Francisco in 1977 in Francisco San in estival aaeo im etvl gv evidence give festivals film Sarajevo to find their “added value” “added their find to

of the festival that first happened while while happened first that festival the of in 1951.

, at (Rhyne 2007) (Rhyne is nburgh having

funde

the nentoa fsia wt a with festival international , Ken Turan Ken ,

Sarajevo Film Festival Film Sarajevo xtcs, xlsvt o exclusivity exoticism,

d through governmental through d Festival forgotten for as long as long as for forgotten

belong - making community. community. making . However, I think think I However, .

and the revived the and ing to the feelings the to (2002)

to match the match to

to the same same the to

that ct” with ct”

traces traces 2008 was was

of of is r

CEU eTD Collection 1984b) 1984a; (1982, on relying from range phenomenon festival the of conceptualizations festival re situated relation the to carnivalesque” “ whether i festivals queer with festivals. film queer international contemporary to relation in deviance Zielinski international and pride national of space and time the which spaceto and heterotopictime a Queer F la a with attackers sync. perceived were Bosnia, of sphere public the Sarajevo Queer Press Liberal the to according Festival Sarajevo Queer first place took in and estival in Bosnianestival societ in stitu only

tions F a sae o afcie n promtv pltcl interventions political performative and affective of spaces as s oee, t However, eerhn post Researching estival the queer film festival (will) always carry with it the promise of a si a of promise the it with carryalways (will) festival film queer the (2012) ital in virtually sistance to heteronormativity also contributes to an to contributes also heteronormativity to sistance

in 2008 in f aaeo xet o the for except Sarajevo of political

received from the liberal press and civil society, theliberalfrom and received press (

Festival Ibid. adopts . As I As . rger e overwhelming he :2) pae a dsat s ot Kra Rsi and Russia Korea, North as distant as places n the

potential of thecarnivalesque

. We will return to the the to return will We . oua spot os o rfet h cmlxt o reacti of complexity the reflect not does support popular

concepts of the the of concepts Fou - n fo te esetv of perspective the from and during y. T Yugoslav queer festivals as as festivals queer Yugoslav analyzed nent pc i 2009. in space internet al’ cnet o concept cault’s aking into account the ambiguous and embattled support that the supportthatthe embattled account the ambiguous into and aking the Muslim holy month of Ramadan, and its very presence in presence very its and Ramadan, of month holy Muslim the

in “Battle” for Sarajevo as “Metropolis” as Sarajevo for “Battle” ( international cdm o Fn Arts Fine of Academy Queer Saraje Queer carnivalesque 28 f by the majority of Bosnian citizens citizens Bosnian of majority the by

heterotopia

Reflecting upon the recent wave of troubles of wave recent the upon Reflecting eeooin pc of space heterotopian fame )

It was turned down by all the cultural cultural the all by down turned was It in

media media cs of acts vo F vo Section 1.4 omtv space, normative

n daoim through dialogism; and of the of , as space of either criminality or or criminality either of space as , estival

focus ongoing

(2010) staging regionally and locally locally and regionally staging we can say it canwe say hr the where aaeo im Festival Film Sarajevo

. belonged as opposed to the to opposed as belonged

n the on , both the timing of the of timing the both , endeavor ona Zeisi asks Zielinski Bosnia, the queer queer the o his for xiiin opening exhibition Mikhail

is small group of of group small te for the unruly unruly the for te : Closure of the of Closure : .

the moment

The existing existing The of theorizing of

nlss of analysis

n t the to ons festival analyzing analyzing Bakhtin’ as out of of out as . Ger .

of in s

CEU eTD Collection Novel“ the in time and space how fields disciplinary other chronotope Bakhtin of concepts other many with case exploring the empowerment cultural and political of spaces as festivals making(non q of discussions experience cultural/artistic a around which in space a have otherwise not might who to seen are festivals film feminist awareness political forging for spaces event the festivals of importance and role cultural the on studies festival of field the in debates 2008) Martineau festiv international festi global the in andidentities socialities 2002) (Harbord audiences particular and knowledge specialized of creation the for site a as functioning while as festivals als as opposed to “specialized” events such as such events “specialized” to opposed as als The One of the major categories of analysis for my my for analysis of categories major the of One

either a either

hybrid research a been has - global) queer art visible. visible. art queer global)

c particular configurationsof time ofspace post and in ontext ; to theorizing the influence of queer festivals on the formation of co of formation the on festivals queer of influence the theorizing to ; er etvl a ocsos f qer reproduction” “queer of occasions as festivals ueer his Te icsin f h sgiiac o qer festivals queer of significance the of discussion The . s cultural and tourist attractions tourist and cultural s spaces of flow of spaces a circuit val

are represented in literary texts in texts literary in represented are The Dialogic Imagination Dialogic The in festival studies on studies festival in s

a wl as well as , developed Bktn is th first Bakhtin . (Brocka 2008;Gamson 1996) testifies

as an important important an as

that provide for provide that satisfy o h dfeec o the of difference the to (Basquin 2008, 124) 2008, (Basquin (Becker 2003) (Becker The tendency in festival studies to p to studies festival tendencyin The

o ifrn rcpin f r wr i national in work art of reception different to

eorized

experience “a social need” social “a hs category his , 29

(1982)

h nto o chronotope of notion the mode (Crespi the commercial circulation of art products art of circulation commercial the o xeine a eln o communion” of feeling “a experience to

. queer festivals queer s “Specialized”

“ of

In it, he uses this term to signify both signify to term this uses he it, In

Forms of Time and Time of Forms research f ieay analysis literary of . - the Vallbona and Richards 2007) Richards and Vallbona

The focus The has has for a group of audience members members audience of group a for f h time the of works audiences and organisers artists, certainly - Yugoslavfestivals. is the the is

festivals, such as q as such festivals, (Onir 2008; Ducastel and and Ducastel 2008; (Onir exhibited in these studies these in

( Ibid. chronotope shaped my interest in in interest my shaped - pc nxs called nexus space erceive film and art art and film erceive

of the Chronotope the of - ,

)

o rfetn on reflecting for

traver drawing and venues for for venues and in

mainstream sing As .

is on the on is

llective llective

ue on the the on

–

is the the is many many

or as or er or or er sees sees and

CEU eTD Collection for call a of questioning temporality Anglo theory field the relates research festival post understanding p somewhat the interviewC analysis in space particular the of inhabiting and imagining C comm and belong festivals their space and time historical ways the analyse to me enables space and time (Vice 1998) speci characters and plot time, space, imaginary of creation the about and art, of work the in represented been have space and time historical which in ways the about both articulation category “biographical“ self “autobiographical time “the meaning chronotope“ “internal ccounts of “ of ccounts atr 4 n 5 and 4 hapters -

lhuh t migh it Although In my research, my In y a of way by and Euro and

seeing of

. of time of

of rivile eain of relations Third World, postcolonial, and postcolonial, World, Third

. the ( iul utr a a as culture visual ue fsias i i ueu t rfr rel to briefly refer to useful is it festivals, queer Ibid. Transposing the concept of of concept the Transposing - centric queer theory queer centric e sail eain, h temporal the relations, spatial ges

Additionally, . traditional traditional - de - Yugoslav (festival) queerness. queerness. (festival) Yugoslav space :131) - center - the osiuns“ ad h “xeir real “exterior, the and consciousness“, se ta te omlto o rgoa queerness regional of formulation the that seem t .

ifrn gne ad doois to ideologies and genres different hapter 7 relations In literary theory the concept of concept the theoryIn literary chronotope is chronotope ing narrative sequencing narrative

h nraie iin o time of visions normative the of the festival studies festival the of . n hc te etvl raies conceptualize organizers festival the which in the

“multi within texts within hoooe also chronotope (Kulpa and Mizielinska 2011 Mizielinska and (Kulpa - used to reflect on reflect to used space of (the) represented life“, which he relates to relates he which life“, represented (the) of space - eprl heterogeneity” temporal the minoritarian cultural practices” cultural minoritarian 30

. chronotope to chronotope - time time It

The focus on focus The of visual culture visual of has been used in literary analysis to talk to analysis literary in used been has of the festivals the of to

offers

dimension the insights the

chronotope the inseparability of categories of of categories of inseparability the nct in unicate

the the h seiiiis of specificities the a way into investigating the the investigating into way a -

space queer t queer hht n Stam’s and Shohat - research on queer festivals queer on research life chronotope“ of the the of chronotope“ life

in – , 15) , s qal cuil for crucial equally is

gained in gained by h int the remained an analytical an remained the the relations ime – . their li s e il e in see will we as For i For

ght of alternative alternative of ght

in fic for that work work that for fic

( erconnection of of erconnection

Ibid. i

ti chapter this n participants contemporary contemporary

magining post dominant

:29) the linguistic - colonial

(2002) . actual actual They the the

in in

CEU eTD Collection anti LGBT, (feminist, networking activist through created space audiences and represen of strategies of Film those during started festivals successor categoriesopposed tobackwardness progessas of temporal of uses discriminatory the by burdened and time, same the at happening occurences terminology their in coincidence“ linear as constructed Europe“ “Eastern queerness. contemporary to speaks context. historical particular its in queer of aesthetics the articulating immature more culturally thus avoiding the festivals cultural production withthe “currents f “ narrate to want they culture trajectories historical multiple characterizedby cultural different tem network porally embedded intertexuality” embedded porally in Ljubljana that Ljubljana in Out of the the of Out This . They are They .

onre t fre Yugoslavia former to countries Kulpa ing dialogic

to a f a to n ecag art exchange and

baggage of “the infantilizing trope”“the infantilizing of baggage and Mizielinska Mizielinska and “ are which practices and texts

total of of total not and ormer shared coun shared ormer tation and politics. In my view, view, my In politics. and tation approach has approach

started in 1984. As I s I As 1984. in started seen n progresssi and h “West“ the refigurations eight queer festivals in the capitals of the five (out o (out five the of capitals the in festivals queer eight ( Ibid. , drawing on Bakhtin’s work, Bakhtin’s on drawing ,

as 10

late years. :28 ss at ok ad audiences and works art ists, (2011 important ) followers

bt as but , where ,

(

of all art and culture, as well as to the hybridization o hybridization the to as well as culture, and art all of rom elsewhere”rom Ibid. try The only exception is the is exception only The f ie n sae f eta ad Ea and Central of space and time of ve, while eastern temporality, temporality, eastern while ve, )

, as well as their embeddedness in the transnational the in embeddedness their as well as , write

:15 ht were that aid above in S in above aid 31

eus of venues implications for implications of of – , rhythms and temporalities” and rhythms , the the

16)

of time disjunctions between disjunctions time of supposedly mature supposedly . yrd htrgosc ueel developed, unevenly heteroglossic, hybrid,

etr mdlt o goeprlt is geotemporality of modality western

the the s hrceie b te xlso of explosion the by characterized is that constructsthat

cie ewe 20 ad 2012 and 2003 between active ( Ibid. geo yrd ritc practice artistic hybrid

thus e :30) - ction 1 ction historical links of the organizers organizers the of links historical

situating post situating testifies to the dialogism and and dialogism the to testifies .

Festival of Lesbian and Gay and Lesbian of Festival ,

s el s ocps and concepts as well as .2, t .2,

“developing societies” Western queer fes queer Western - war activism) can be be can activism) war hese festivals hese h approach The Esen ti “Eastern

( Ibid. - Yugoslav queer queer Yugoslav some presumed presumed some stern European European stern s )

f . The visual The . engaged in in engaged the

do a lot a do seven , e of me seven) seven) tivals,

also also

as as f

CEU eTD Collection F festivals. queer of field of networking of practices the andindividual collectiveorientation social speaks in space as to of itspossibilities constitutive paths normative from aside repetition of acts collective or landscape in orientation Yugoslav follow me for opportunity an provides capital and influences cultural of movements global fluid analyzing suffi the using by influences and images global of globalization of influence homogenizing and imperialism Appadurai decade. post of temporalities fluid and messy of description coincidence of w festival film international ethnographic these use audiences temporal and regional queerness s and in for accounted estival pace

instead My research is thus engaged in engaged thus is research My rcn the Tracing o perceive to

n nleta app influential An will will

queer ( ’s Ibid.

(2006) a o post of map rc down track ” the trajectoriesexample, an of,forglobal image’s circulation. relations

:4)

characterized by characterized festivals terms of belonging to versions of what Halberstam what of versions to belonging of terms .

and

power relations within them, within relations power “ concept of of concept

scapes events justify the need to research those art festiart those research to needthe justify

C seen p of

leads hapter

- uolv im n at festivals arts and film Yugoslav the orld. ” oc to roach ost

f art of an my

various pro -

movements following movements scapes uolv ue fsias ad h wy i wih festival which in ways the and festivals, queer Yugoslav 6 Furthermore the ter visuality their d

devoted to devoted - project towards Ahmed’s towards project democratic instances of queer visibility imagined and and imagined visibility queer of instances democratic

occurrence works the

. cognitive mapping cognitive actors Challenging

yai preto o clua fos is flows cultural of perception dynamic iae ad raiainl taeis of strategies organizational and images , , what Kulpa and Mizielins and Kulpa what , 32

the analysis of analysis the (artists, organizers, audience members) audience organizers, (artists,

of “everything at once” at “everything of avoid a one a avoid x “scapes” x

o eoit resistance. negotiate to the hypothesis of of hypothesis the - desire lines desire uolv ue fsias f h last the of festivals queer Yugoslav , he proposes he ,

(Jameson 1991, 51) 1991, (Jameson

20, 19) (2006,

(2006) researches ( - as of landscapes. His model of model His landscapes. of as queer way cultural flow model flow cultural way vals as engaged in creation of creation engagedin as vals

created through individual through created

) model

(2005) visuality of the Zagreb the of visuality

to .

ka call ka a simplified simplified a (2011 hs li mdl of model fluid This

sal at f the of part small a lo

of non of ok

calls

, 15) ,

at My “ of Eastern time time Eastern

circulations - que the

normative

is a good a is tentative cultural cultural

er time time er

spatial in the the in Arjun Arjun , post

and and -

CEU eTD Collection the central urban abandoned space, but Belgrade Belgrade mainstream differential Croati first the from transformative: to exclusionary from range spaces festival queer of negotiations These of space in visibility queer accompany that practices material and discursive of multiplicity that argue and view playing the through contoured always Consequently, multiplicity” “simultaneous Massey’s Doreen by informed is space of understanding performative) and continuation inperformative its communityorganizing action direct and performance in point starting its had context actions “ at/a performed eie lines” desire conservative politics of cultural institutions in Sarajevo that all but one refused to host the host to refused one but all that Sarajevo in institutions cultural of politics conservative Queer Sarajevo F QueerSarajevo an capital the by h v The Each ( Ibid.

post (Dioli 2008, 1) 2008, (Dioli a sae i te etvls is ya o te roof the on year first festival’s the in staged was prpito o priua vne as venues particular of appropriation “places” post isibility of queer, subversive or radical qualities qualities radical or subversive queer, of isibility :19) -

arts arts uolv countries Yugoslav round that publ - Indeed, . Yugoslav queer festival queer Yugoslav at these festivals these at

c space ic

ae dcsv ifune n retn idvda a wl a collective as well as individual orienting in influence decisive a have the this no parti a into estiva Queer F Zagreb negotiations of meanings of public space around queer festivals, and and festivals, queer around space public of meanings of negotiations .

f This organizational choice located the imaginary queer country in country queer imaginary the located choice organizational This estival q

ueer ( is to the queer spatial “occupation” queerspatial the to Ibid.

“

eesrl ngtae, oeie rvn ih antagonism, with riven sometimes negotiated, necessarily Sc “ Such . ua fsia time festival cular

n h sne of sense the in :61) eut n h simulta the in result ( di out of unequal social relations” social unequal of out

scussed in scussed yet estival which

oet o disrup of moments of the past decade may be analyz be may decade past the of imagined as fullofpossibilities. imagined 33

. s seen is

Chapter 2 Chapter

rcie n pltc in politics and practice - n c of act an pc. h Queeroslavia The space.

s yai ad osaty ch constantly and dynamic as eu frain f utpe spaces multiple of formation neous ) (Shepardand Hayd

also shapes also (2005) tion” tion”

- of of o o a eetd ulig in building deserted a of top moid y the by embodied (Berlant and Freeman 1993) Freeman and (Berlant symbolic central

il e ocpulzd as conceptualized be will theorization of space as as space of theorization

( Ibid.

the public the cultural cultural

translation :151) the ed in terms of its its of terms in ed uk 2002)

f the of Anglo . places

visual I adopt this adopt I space. My space. the the anging. anging. - f the of .

public public Saxon Queer of

(and the the . ,

CEU eTD Collection time on limitations the with playing or negotiating in festivals Ljubljana Season Festival Zagreb Queer the the at either its Zagreb of in seen already art of works the 2012 in featured has experience festival new this Additionally, the and model the on based the as organized been has it 2012, Since borders. Croatian across canon. cultural Croatian the to belonging 2012 art as well as cinemas, existence, and of politics also a though activism. gay and lesbian Slovenian of years 30 almost of success centra The enter the where clubs LGBT Ljubljana Capital Slovenian the of festival, film gay and lesbian

one - regional staged events its equally in prestigious cult space, similar possibilities are quite limited for limited quite are possibilities similar space, pointedly taking place in the the in place taking pointedly

The F The T n otat to contrast In - – way perceptions of perceptions way

he Ljubljana festival Ljubljana he stagin relati lity of the Ljubljana F Ljubljana the of lity queering the mainstream the queering h Zge Festival Zagreb the

Queer Zagreb Queer estival organizers presented organizers estival queer vely g cultural eventsgcultural throughout2013

new phenomenon new eod h margins the beyond the

galleries and museums all over the capital the over all museums and galleries a epne as t also expanded has -

eaie raiainl aia ad flexibility and capital organizational relative

or at the at or the flows the Kinoteka , has taken has

in accordance with their self their with accordance in

brought queer art art queer brought estival , and , Perforacije

rain ainl Theater National Croatian of cu of and when compared to the history of the Ljubljana event Ljubljana the of history the to compared when

tainment part of the Ljubljana F Ljubljana the of part tainment place venues venues

of Qer arb etvl 2005a) Festival Zagreb (Queer

The this strategy of spatial centrality spatial of strategy this Kinodvor ltural exch ltural extending the spatial reach of post of reach spatial the extending

emporally, being being emporally, in 34 Queer Zagreb Festival Zagreb Queer urally centralurally institutions can be argued to be to argued be can two established and central and established two

(Perforations) and onin2014 works

. Equally established are the legendary legendary the are established Equally . the raies ih h Zagre the with organizers anges

smaller festivals smaller to almost all prestigious theaters, theaters, prestigious all almost to - perception . Although “closed” in 2012, the the 2012, in “closed” Although eie a the as revived Festival .

, with the closing event in event closing the with , s h smoi place symbolic the as New York Queer Festival Queer York New an outcome of outcome an ue Zge Festival Zagreb Queer access to access

has expanded spatially expanded has as the old the as estival takes its place. its takes estival

, further destabilizing destabilizing further , from its . In its its In .

of the Zagreb and and Zagreb the of that worked that ly located ly

as - a means a Queer Zagreb Zagreb Queer socialist queer socialist queer festival festival queer est European est inception ten F b the the

years of of years cinema cultural cultural

estival. with of .

its its

of of in in – s , , ,

CEU eTD Collection of the “visible” transnational exchanges such negotiate festivals art queer of network circuit festival art mainstreamthe festivals world the of rest cultural theory postcolonial uses to. belong they networks international post of configurations servesfor as films queer safespace andaudiences. The space mainstr of a Center F city. the in places workshop and and home, l’Action Arts Fine of Academy space the of townexcept forexhibition byall institutions the cultural forrefused was instance, or and political tense more estival

t s osbe o xed h aayi o smoi gorpis n time and geographies symbolic of analysis the extend to possible is It without

“ since 2009 since Festival of Lesbian A Lesbian of Festival can be researched as spaces of unequal exchange in a twofold way: both in regard to regard in both way: twofold a in exchange unequal of spaces as researched be can border exchanges border in the later years since 2008 since years later the in l y with other (queer) festivals, with their audiences, and audiences, their with festivals, (queer) other with y

in their respective art homophobic threats that threats homophobic (Evans 2007:24) (Evans has been screening been has eam cultural venue, away from thecontested culturalspaceeam awayfrom venue,thestreets public of

- Drai 2008) (Durkalic Yugoslav queer festivals festivals queer Yugoslav for

ganizational condi ganizational ” n utpe ietos wti te einl network regional the within directions: multiple in

between Ho between grasp (mostly) rt

in its first year in 2007 in year first its in In Belgrade, In , , it is possible to argue that the that argueto possible is it ,

and ing - cultu

Drawing on the analysis of European film festivals t festivals film European of analysis the on Drawing in regard in h specifi the

in the movies in the cinema halls of the of halls cinema the in movies the

beleaguer . llywood and other national cinematographies of the of cinematographies national other and llywood it re systems the n oi Sad, Novi In has been extending its spatial reach to exhibition exhibition to reach spatial its extending been has tions. tions.

35 Serbia capitals of capitals

to the transnatio the to iy f h Erpa festivals European the of city

The first The all attempts at Pride activism in Belgrade. in activism Pride at attempts all , . and Merlinka

took place took post Serbia, to Queer Sarajevo Festival Sarajevo Queer

- ae no account into take Yugos , nal queer festival c festival queer nal the post the

in - nternational Queer F Queer nternational la

with hegemonic regimes regimes hegemonic with Yugoslav small v countries countries v the

space of of space - sca Belgrade Youth Youth Belgrade le queer cultur queer

s pcs of spaces as

f festivals of ’r pour L’art intensively the ircuit.

a in 2008, in private private - larger larger space T ilm hat he he al al , ,

CEU eTD Collection space;this ofthesocialgive andfinally, meaning space they tothe rest by regulated been process this of dynamicsthe bo contrad often many intersecting in difference of t subj are they deviance; or defined are spaces Heterotopic characteristics. heterotopias. of characteristics salient heterotopi as festivals queer analysing of purpose “ and real“ “absolutely virtual betwee sites“ other the all theysites“if evenother“c withthe relation all “in exist to come spacesthat marginal normativity through into again performance sites festival queer global of analysis het (2002) section, this In 1.4 und with its time aspects i.e. aspects time its with und erotopic spaces; erotopic

The

h pltcl oeta of potential political the sae f h iae and image the of space “

n utopia n o Foucault For ocp of concept

Carnivalesque

Heterotopias

and heterotopia. Foucault's mirror functions both functions mirror Foucault's heterotopia. and ts the test I st Foucault's understanding of heterotopia of understanding Foucault's st and

Bakhtin's ( heterotopia Ibid. (2002) proceed to the to proceed absolutely unreal“ at the same time time same the at unreal“ absolutely

ect to change and history; the “ the history; and change to ect :231) of ocpulzto of conceptualization h , are to be found in all cultures in relation either to spaces of crisis of spaces to either relation in cultures all in found be to are Q (1984a; 1984b) ue festival queer eteropia H uses He . ueer ueer “ . heterochronies s a as dsus h mi caatrsis ocut bevd in observed Foucault characteristics main the discuss I F estival estival

heterot use n htrtpc spaces heterotopic and . the

ae o i Scin ., analyze I 6.2, Section in on Later of the concep the of a te time the as s

36 pa ht mak that opia concept ofthe visual metaphor of a mirror mirror a of metaphor visual “ H “

a system of opening and closing“ of access to access of closing“ and opening systemof a ; eterotopias etvl ie n space and time festival as of subversion of as they are both “isolated“ and “ and “isolated“ both are they ictory spaces in one place; heterotopia is is heterotopia place; one in spaces ictory t of heterotopia of t hetero“ in the term signals the sense sense the signals term the in hetero“ - space of of space es the space one occupies seem seem occupies one space the es carnevalesque , while in Section 6.3, Section in while ,

( Ibid. reference all the strange and and strange the all reference

as is Foucault's elaboration of of elaboration Foucault's is

contin ) an utopia of the of utopia an . ( ht atr f matters What Ibid.

gent through .

Zielinski's

:231 which

subversion of of subversion penetrable“

– ruh six hrough one theater theater one 234)

Foucault's

he places places he I ontradict ontradict

“unreal enquire . (2012) or my my or

– ,

CEU eTD Collection influenceu their and festivalsof function social the on focusedhave of space the as queer of instance particular one with engage to chosen have en ethnographic my for influences theoretical important are festivals queer heterotopiaof notion potential. political Festival’s the represents me for what of illustrative at 7 Chapter in space my against heterotopias, queer of questioning gayfilm festival” as Zielinski, For built its society, of edges the at literally sometimes and figuratively lay that difference of spaces spaces, heterogeneous he Therefore direction. that in pointing sexuality to relation because important questions open numerous raises and Foucault, by developed as heterotopias of characteristics his in text 236) (Mirzoeff 2002, unr version a in death his before year

Queer Zagreb Festival Zagreb Queer an indispensable an indispensable an wl ts Fual’ sx character six Foucault’s test will I of analysis Foucault's about the about w aayi of analysis own the carnivalesque

( understanding of space of understanding

. Ibid.

he Also, in Section 6.3, I will analyze a collaborative theatrical performance performance theatrical collaborative a analyze will I 6.3, Section in Also, “

. Ger Zielinski Ger . festival and Zielinski’s interpretation of its potential its of Zielinski’sinterpretation and xlcty eie b Foucault by defined explicitly

alytical to alytical ons u ta although that out points :1 –

in 2009 as an instance of artistic pr artistic of instance an as 2009 in spaces and its norms its and spaces 4) . “

and and

as an instance of heterotopia as he goes along goes he as heterotopia of instance an as eeoois a frt eiee a a etr, n pbihd a published and lecture, a as delivered first was heterotopias ol for theoriz for ol nentoa qer etvl: he festivals: queer international the (2012) evised by him him by evised ec static. static.

that has got multiplicity integral to it may function may it to integral multiplicity got has that es u to out sets

replicates this quality and structure of structureof qualityand this replicates ing 37 sis f eeoois a wl a Zielinski’s as well as heterotopias, of istics interlocutors’ Among possible possible Among ”

heterotopia as a category has no necessary necessary no has category a as heterotopia the (2012, 1) (2012,

- “ ,

preserving the “ the preserving unique t s osbe o ne te assumptions the infer to possible is it “ atr te es o toe radically those of sense the capture

as spaces of subversive sexuality subversive of spaces as experiences of festiv of experiences (ness of the) of (ness heterotopia oduction of a queer heterotopia queer a of oduction models of theorizing festival theorizing of models for thinking about spaces of of spacesthinking forabout p on collective identities. identities. collective on confronts each of the the of each confronts quality of lecture notes“ notes“ lecture of quality : queer festival space space festival queer :

space o space lal, F Clearly, quiry .

I find his work his find I als’ time and time als’ . However, I However, . f lesbian and lesbian f the the oucault’s oucault’s Foucau - ende , I , lt d I .

CEU eTD Collection Glazener’s Nancy is point in admonition The potential. subversive festivals’ r essentialist” been has carnivalesque subversion of social hierarchies. divi a stretching ForBakhtin, a is “pageant ourfootlights carnival without towards time. andwithout influenceits exert to continuesintervals regularlyscheduled at normalitysocial subverting the Bakhtin’ with concerned mostly events festival queer staging in also but art, queer in “carnivalesque” analyze I 6.3, Section In representatio subvertinghegemonic analyse of to ways studies artistic valuetheyart of queer present. chronotopes the section challenging for site productive provide form 8) (1984b, festivals art queer the through mov this approach eadings of Bakhtin’s carnival function as a guard againstguard overa function as carnival eadings Bakhtin’s of

otaitr rltos ewe dmcai, community democratic, between relations contradictory in no efres n spectators” and performers into sion

Here Bakhtin’s eie is niptbe ouaiy Bktns nesadn o carn of understanding Bakhtin’s popularity, indisputable its Besides therefore e enablessubversive analytical engagement events potentialof withthe these

the post

as lived at carnival time carnival at lived as

I ,

in how it approaches the gendered body and voice voice and body gendered the approaches it how in created around queer festivals, and the constant negotiations of legitimacy and legitimacy of negotiations constant the and festivals, queer around created s

a ru ta te es o lbrto ad eortc part democratic and liberation of sense the that argue

- prepares prepares 18a 1984b) (1984a; ou o priiaoy oiis and politics participatory of forum Yugoslav Yugoslav criticized the way the queer festivalsqueer

h Banquet The

the elitist presumption elitist the orsod o h sbesvns o Bktns scn life” “second Bakhtin’s of subversiveness the to correspond

in some feminist readings as “ as readings feminist some in

issec ta te eivl aaoia taiin of tradition paradoxical medieval the that insistence s

carnivalesque for interview analysis in Section 7.3 Section in analysis interview for . Furthermore, I Furthermore, .

through Bakhtinian concept of Bakhtinian concept of through

18a 122) (1984a, 38 efrac a a isac o the of instance an as performance

a be epoe i ltrr ad cultural and literary in employed been has also contend also s

about what counts as counts what about viewing I is It . n - enthusiastic rendering queer enthusiastic of s through laughter and parody. parody. and throughlaughters

(Makaryk 1993, 517) 1993, (Makaryk

unconscious shared a

laue, it pleasures, that - orient

in so far as far so in .

which which

e oee, ee am I here However, space of temporary temporary of space d aspects of the the of aspects d carnivalesque cpto achieved icipation ly patriarchal and patriarchal ly

“queer art” “queer

(1989) ucin a a as functions sheds light on light sheds the festival festival the

vl and ival

. criticism . Critical Critical

s of use . T .

since his his

CEU eTD Collection 2004, 56) “contested” a be to continues festivals spaces alternative as festivals “queer” term the of “ 54) “waves” new films LGBT non of representations festivals queer of openness and it” in live they people; the popular the of duration laughter” an as carnival of community. to reacting in and politics the the of organizers festival, Ljubljana the of organizers for principle vital a is representation and politics interviewees’ critique patriarchy” Glazener appr feminist of homonormativity” Wt te commerc the With . Still, t Still,

, where all the hierarchies and rules get suspended and turned upside down for the the for down upside turned and suspended get rules and hierarchies the all where , f Bakhtin’s of . i Vc 1998) Vice (in

, and this “suspension” never amounts to compl to amounts never “suspension” this and ,

(Loist 2007; Loist 2008) Loist 2007; (Loist

he cohesive function of festivals resonates with resonates festivals of function cohesive he such as the as such r eflections on gendered dimension of queer festivals. While gender equality in in equality gender While festivals. queer of dimension gendered on eflections oaches to Bakhtin that overestimate overestimate that Bakhtin to oaches altern Queer Zagreb Queer

(Duggan 2002) (Duggan in the domain of art and representation, and of the specificity of queer queer of specificity the of and representation, and art of domain the in - normative sexualities, be it through festivals’ dedication t dedication festivals’ through it be sexualities, normative - ative time ative festive aie rpeettos f h “ the of representations ialized carnivalesque cria “ carnival , appearance of the films of the “new queer cinema” queer “new the of films the of appearance the ( Ibid.

period rtcs of criticism s clear is

have had more ambiguous approaches in their programming their in approaches ambiguous more had have - :7) space, as “second life” “second as space,

on the rise, the importance of researchi of importance the rise, the on . rnfrs h fsia it a into festival the transforms fes ny tmoay suspension temporary a only offers

It has been claimed that the quality of quality the that claimed been has It

( or through following or contr or following through or

Ibid. Sil te signi the Still, . is topic, even among queer audiences and artists artists and audiences queer among even topic,

f re of :8) ( gay 39 . Bakhtin’s

) eac i Catr i rlto to relation in 7 Chapter in levance

lts fo a at f h Cota LGBT Croatian the of part a from elitism carnival’s gays iac ad vn eest o que of necessity even and ficance

which is “organised on the basis of basis the on “organised is which carnival is “not a spectacle seen by by seen spectacle a “not is carnival tream” or what has been termed termed been has what or tream” ete refusal ete Bakhtin’s

subversiveness. A subversiveness. ibuting to the crea the to ibuting pc oe t filmic to open space (Ibid., 178) (Ibid.,

(1984a) f ls ad o of not and class of ng the functioning the ng

(Rich 2004, 53 2004, (Rich the o showcasing o

productivity theorization theorization ccording to ccording . Feminist . tion of of tion (Rich

my my er er – CEU eTD Collection “beyond” going explore tentatively I sites. those beyond extend also they but subversion, temporary identities and time of queering as same the repre of literarymode ( subversive and ambiguous privatization or institutionalization histori their “betrayed” have festivals and carnivals streets. joy” “collective of history the writes Ehrenreich women pe allowed carnival slaves; their on festivals Diony the festivities, disruption. in engaged allowed temporarily of site as a festivals and carnivals as such events collective imagining for model one offers subversion as carnival the of understanding paradoxical Bakhtin’s world the festi Ibid. vals, but they achieve a similar effect of effect similar a achieve they but vals, )

– However, of form and purpose the between differences important are There

license

as confirming in this way Bakhtin’s own orientation toward the carnivalesque as a a as carnivalesque the toward orientation own Bakhtin’s way this in confirming “

Similar to this is this to Similar upside based on “ritu on based achieving social cohesion through the temporally bounded enactment of social social of enactment bounded temporally the through cohesion social achieving that I research are inspired and partly created through the festivals as si as festivals the through created partly and inspired are research I that

as ordinary practice ordinary as o hunt” to

- Nancy Glazener Glazener Nancy down sentation. In my understanding, the carnivalesque reversal is not exactly not is reversal carnivalesque the understanding, Inmy sentation. sian rituals, the Roman Saturnalia, and other European and world world and European other and Saturnalia, Roman the rituals, sian ”

, in Bakhtinian terms Bakhtinian in , al inversion” of social roles: “ roles: social of inversion” al ( Ibid. carnivalesque

Barbara Ehrenreich’s Ehrenreich’s Barbara - space. The practices of queering geo queering of practices The space. :38) asants to impersonate kings; and Dionysian wor Dionysian and kings; impersonate to asants . s of escape, conceptualized as conceptualized escape, of s

(1989) In her genealogy of carnivals and street celebrations celebrations street and carnivals of genealogy her In ( Ibid.

is still to be found only in “some literary traces” traces” literary “some in only found be to still is aog others, among , :161) suspending dominant social hierarchies social dominant suspending 40

(1984a:370)

Se ean cnicd that convinced remains She . ( Ibid. (2007) cal subversive potential as a result of their their of result a as potential subversive cal :248) During Saturnalia, masters had to wait to had masters Saturnalia, During

a ccount

for of people’s being together in the the in together being people’s of

ons u ta contemporary that out points

a short period o period short a

“ of imperceptible politics imperceptible - temporalities, art works, works, art temporalities, carnivalesque carnivals f its duration. its f

collective

ship gave ship h truly the –

putting putting d tes of tes

” this this and

by by

CEU eTD Collection in claiming 2012 turn festival and Zagreb both at halls t theater small and a cinema of the are that festivals account Ljubljana into takes one If day. festival each of end the at brief theate a the 2012, 2003, In in suffice. beginning should its Festival since 2012 constant the of relatively overview remained events festival of number the Since genres. Maribor towns Slovenian and smaller other three but Ljubljana just not include to reach spatial its extended up films of number approximate constant the films 35 some to then and 2004, in films 22 to grew It 13. was films of number the research, Film Lesbian 16 ofthis text. scope 15 environment know not to that prefers a where situation T people. analyz to order in Slovenia (2011) space geographies heteronormativeofcritiques public of be tied tothe evaluation ofqueerart art LGBT and queer of festivals of effect LGBT together q revalidates brings that festival the of function com social the around out played is principle of I Ehrenreich. their participants’ Tsianos and Stephenson Papadopoulos,

The analysis of a small visual archive of “exit signs” on my interviewees’ home walls remains outside of the ofthe outside walls remains home interviewees’ my on “exit signs” archive of visual analysis small ofa The hr ae o fiil siae o te ie f post of size the of estimates official no are There uiis n time in munities

r performances, 16 films (and 8 second screenings), 1 exhibition and 1 concert, as well as 7 party events events party 7 as well as concert, 1 and exhibition 1 screenings), second 8 (and films 16 performances, r time

The queer ar queer The My interest My

develops - - he transparent closet transparent he over of around 150 films and some 35.000 viewers that the the that viewers 35.000 some and films 150 around of over space

- in Ljubljana had screened eleven films in its first year in 1984. In 2003, the start of the decade I I decade the of start the 2003, In 1984. in year first its in films eleven screened had Ljubljana in subversion is a crucial part is subversion

n that regard that n ho as festival sites. In contrast, the program of the the of program the contrast, In sites. festival as er sociability ueer (Torino GLBT Film Festival 2012, 1) 2012, Film GLBT Festival (Torino

me spaces 16

queer person is out but at the same time pushed back into the closet by the the by closet the into back pushed time same the at but out is person queer the the

as did some of the historical festivities festivities historical the of some did as in t festivals t - festivals as festivals

paradoxical paradoxical pc o lcl rgoa ad nentoa “border international and regional local, of space and aestheticsand 15

they might be perce be might they .

te everyday the e Mo . o medium size, it seems clear that neither of those two festivals reaches the the reaches festivals two those of neither that clear seems it size, medium o in this study certainly do not gather large popular masses into masses popular large gather not do certainly study this in

is seen is

e motnl, I importantly, re carnivalesque c oncept of of oncept

itself (Ibid., 162)

to the time of writing this in 2013. The Festival has, since 2005, 2005, since has, Festival The 2013. in this writing of time the to as a relational process of “unfinished coming out” coming “unfinished of process relational a as of how they function. Part of their they Part of of how function. 20, 13) (2008,

is to be seen in the subversive the in seen be to is that takes placeatthat takes festi lived experiences of Slovenian gay and lesbian lesbian and gay Slovenian of experiences lived 41 . - ived as a as ived

Yugoslav festival audiences. The The audiences. festival Yugoslav “

heterotopias that disrupt that heterotopias . rnprn closet transparent

Queer Zagreb Festival Zagreb Queer suggest b akn aot queer about asking by , ue Zagreb Queer carnival on the margins. Howev margins. the on carnival

analyzed that an additional additional an that Torino GLBT Film Festival Film GLBT Torino val time. ”

Festival

of of

s (of art) s (of y ahi, s el as well as Bakhtin, by week included 11 dance or or dance 11 included week the the normativityneed carnivalesque

includes a variety of of variety a includes - Festival of Gay and and Gay of Festival exchanges”, shuffling and re and shuffling ulc space public

. Roman Kuhar Kuhar . Roman – posters in my my in posters

carnivalesque which remained remained which –

Celje, Koper Koper Celje,

is proudly proudly is the er, effect

s and and

–

to to in

a – -

CEU eTD Collection hold, can closet transparent the than audience more engulfs space terms. own their on queers of visibility creates others” s pleasurable this and claimed”, are “spaces Ahmed’s transparentcloset. festivals queer the Second, outside. heteronormative its from images visual of consists overwhelmingly festivals o struggle cultural of means chosen the all, of First reasons. two for further even post the of closets transparent the trouble festivals film and arts queer sh disavowing chapter non this of argumentation of visibility vulnerable of experience terms th are march Pride as such events imposed externally in year the of part most the spend people g and lesbian by disrupted of time the at closet transparent and queers Slovenian of lives the ake the ake

20, 142) (2000, As in Kuhar’s analysis, the regional Pride marches, where they are allowed to happen, to allowed are they where marches, Pride regional the analysis, Kuhar’s in As studies, empirical on Based threatens the transparency and transparency the threatens ( discomfort Ibid.

(2004) old pra old

the already visible butgrudginglyalready visible the :165)

o cletv celebration collective for ctice of prefe of ctice enjoyment pleasure” queer of display “the witnessing times at that aware is Ahmed . Inresearch,Irelation my spatiality to pleasure understand in of inthe sense . n eeoomtv spaces heteronormative in

n y reading my In . According to her, joy or enjoyment or joy her, to According . y visibility ay rring not to see queer people queer see to not rring cud e ocpulzd as conceptualized be could , e only moments of self of moments only e the the h Lulaa rd we the when Pride Ljubljana the Kuhar Kuhar’s ,

occasional, one occasional, imagined security imagined At least during the festival week, the festival time and time festival the week, festival the during least At

n hi on terms own their on

patial experience depends on bei on depends experience patial strategies of queering of strategies n pleasure and ows the ows 42 acknowledged carnivalesq - (

normative sexualities, and following the the following and sexualities, normative Ibid. transpa ) persistent persistent Ti discomfort This . - day in a year a in day et closet rent - of boundaries of

ue . However, I think that the regionalthe that think I However, . defined itrs the disturbs

networks ofnetworks a invisibility, while public activist activist public while invisibility, . aspect and potential of regional regional of potential and aspect ht s te lvna LGBT Slovenian the is, That einl rnprn closet transparent regional

hold of heteronormativity on on heteronormativity of hold is an emotion through which through emotion an is . The The .

“

oi o nraiiy gets normativity of logic and seeability tns o te regional the for stands events of exit of events

proliferation of queer queer of proliferation

the trans the containing - s rato t the to reaction a is regional queerness. disciplining uolv countries Yugoslav n ” g

in Hennes in “witnessed by “witnessed gression f the queer queer the f

the closet the from this this from

f the of

s and and y’s

–

CEU eTD Collection temporarily th into over spill laughter

blurring the boundariesblurring the e heteronormative geographies of geographies heteronormative e

simultaneouslygeopolitical across artistic borders and 43

the given countries and beyond and countries given the .

, CEU eTD Collection meanings” Hall Stuart 2) 2007, M practices representational 1994, (Chaney questions thatmy motivated enquiry n challenging of practices political as well to to approaches post of field the in contextualization hie gender and sexual post in changes broader of index an as read be can representations queer and/or gay I inter tothe complex think, against “Christianophobia” showing poster a with 2012 till represent explore the project to is My this interestin ultimate REPRESENTATION 2

aig truh whi through eanings the EINL QUEERNESS REGIONAL heterosexism of Croatian and Croatian of heterosexism One of One terms, broad In

. - ing and understanding sexuality understanding and ing

h fc ta i 21 a antem hae i avriig t lesbian its advertising is theater mainstream a 2013 in that fact The enable us to engage in interpreting the world. Th world. the interpreting in engage to us enable

( (1997) Ibid.

the the

:2)

4 Egr n Sdwc 20, 294) 2008, Sedgwick and Edgar 64;

politics of sexual and gender and sexual of politics defines key discussions key . I follow I I h e communicate we ch rarchies. rarchies. n mrc o to Madonnas, two of embrace an argue

with the questions of power and politics politics and power of questions the with

as culture: as

(Bitno.net 2013) texual worktexual ofqueer visuality

Stuart Hall’s call for treating representation as representation treating for call Hall’s Stuart

that that y ethnography My

in reactions public other post other into into

: a “set of practices”, as “the production and exchange of of exchange and production “the as practices”, of “set a cultural theory concerns the meaning of meaning the concerns theory cultural - uolv ue fsias inv festivals queer Yugoslav IIIIY OIIS A POLITICS VISIBILITY the ,

has been used in post in used been has ormativity. ormativity.

of this of this visual visual – 44 -

Yugoslav the “made meanings”, representations representations meanings”, “made the

non

modes of ways inwhich ways brought about thro about brought - of normativity. These These normativity. sual image

This chapter introduces introduces chapter This the the

societies give insights into visual as visual into insights give societies ht provokes that of thedecade. precedingof is process of making sense making of process is ue Zge Festi Zagreb Queer ad h itreaens of interrelatedness the and , resistanceat those

or letters of support, letters testifies, or - Yugoslav region Yugoslav queer visuality queer (Bagnall et al. 2008, 144) 2008, al. et (Bagnall siae into estigates ugh “new” “new” ugh

D QUEERING ND ihr rts letters protest either models of resistance resistance of models

both a co a both the the representatio festival sites. - hmd play themed ,

val

lesbian and lesbian as a way of way a of as

from 2003 from theoretical

different different socialist

n its and is (Rose (Rose ncept ncept what n

CEU eTD Collection queer semiosis visual of queering identities, que and politics, images. visuality(see its Zagreb people queer of visibility campaigns LGBT some of images the While community. minoritarian that time” same impossi this in themselves an simultaneousl they where representation minorities representing countries Yugoslav otherness” othe attract to seems difference of sort one representation, differenc as belonging practices representational contemporary l When perceived is that practice a and te a sd o te iay “Racial” binary. the of side bad the d

ue visuality queer

aesthetics withnon aesthetics n eto 2 Section In E

F o Ii spec kn a how at oking estival

and particularly LGBT vi LGBT particularlyand nquire into into nquire

(

Ibid. and function a function and al rlvn fr the for relevant ially

– ering of visuality. In Section 2 InSection visuality. eringof :232) discuss

do not do

1 ak ht ue fsia cmuiis a wn truh subv through want may communities festival queer what ask I .1

s Hall’s is aim . how these aims these how In my entails case this differences sexualitygender. and of

. According to him, minorities toil under the weight of binary binary of weight the under toil minorities him, to According . ion e difference seek - s o relevance of s normative and identities sexual practices.

by a by ble double ble

“ s o eeie h patcs f ersnain n h trs f the of terms the on representation of practices the redefine to in –

through curatorial practices, arts, and festival images that relate relate that images festival and arts, practices, curatorial through acceptance in this way this in acceptance Section pi figure split s conceptualization

k as “ as i ng for rights for ng

s ae o inf ad “speak” and signify to made is sibility politics. In Section 2.3, Section In politics. sibility the key first ‘moment’ in ‘moment’ first key the ue dilemma queer -

are achieved, and propose two main strategies: visibilitymain strategies: two proposeand areachieved, 7 bind where they are “ are they where bind .1 , Hall foregrounds the inscription of racial and ethnic and racial of inscription the foregrounds Hall , sgiy h atatv ad h rplie te good the repulsive, the and attractive the signify y . ) s or ‘tropes’ of representation” of ‘tropes’ or s .

t h sm time same the At

45 , other images other , n ehi (u as sxa mnrte) find minorities) sexual also (but ethnic and .2, Ianalyze.2,

f h “split” the of

n representati in and negotiate visibilityt negotiate and the questions of visibility of social visibilityof of questions the rs required to required – – circuit” cultural the

in particular in

h as wrs ht “ that warns also he , and adding u adding

I focus on the strategies the on focus I ons the in negotiate n ue at n post in art queer in b paradoxical ways of of ways paradoxical ennfl ways meaningful p to a ‘spectacle’ of of ‘spectacle’ a to p

e both things at the at things both e ( Ibid. the hrough queering queering hrough :229) posters of posters

the terms of terms the

( Ibid. .

argue I ersive :226) (i)n (i)n

the the of of in - . CEU eTD Collection A concept. conse paradox art queer or art in queer 2008) Rosenberg 2005; Puaca 2006; (Mizielinska marginalization, and danger of associations festivals. arts queer Yugoslav viewers’e as posters festival queer conceptualizing for research only meaningful become ( statement any to regard with ambiguous quite often is that information nonverbal discursive, “ as images defines Mitchell transparent they that is point major of affects, representational and visual only not as “ be can cultural and how ask I Before 2 Ibid. .1

eitn visuality resistant :140) nsus on what queerness meant among Swedish theorists and activists and theorists Swedish among meant queerness what on nsus The complexity of how images function is discussed by W.J.T Mitchell W.J.T by discussed is function images how of complexity The ImagesWhat Queer Want h scn cnieain s o s wa would what ask to is consideration second The

criticism. sculptural, two sculptural, of the meaning of queerness of meaning the of ngagement them with f . Mitchell’s und Mitchell’s . t the same time, they aspired to keep its potential open open potential its keep to aspired they time, same the t antasies, and displaced andantasies, meanings ihu a edr h brings who reader a without

the Zagreb the Griselda Pollock Pollock Griselda ,

do not necessarily have a necessarily have not do dimensio

t s eesr to necessary is it in t in in the course of the of course the in erstanding of images as non as images of erstanding hose local contexts local hose

F estival images contribute to contribute images estival . es, ico dense,

na n oa cnet where contexts local In l, dreamt, spoken, or written”, or spoken, dreamt, l, (2008) :

in Visib

but the

i (sal) iul ybl ta cne non convey that symbols visual (usually) nic has pointed out that out pointed has her own voice voice own her more importantly more consider ” Swedish context Swedish ility ility Visuality and

viewer’s act of making sense is important in my in important is sense making of act viewer’s 46 (ibid:4) h concept the .

Rosenberg “ clear w ,

ht s en by meant is what .

t direc ith ” -

transparent, ambiguous symbols that symbols ambiguous transparent, xt signs exit message; ae iul mgs queer images visual make the struggle around queer visibility queer around struggle the

into making sense of of sense making into (2008) a priua lcl trajectories local particular had . She contends that there that contends She . as queer t effects on the perception of of perception the on effects t while images while “

a holding place of meaning, of place holding a of

they have to be understood be to have they , for instance, analyzes the analyzes instance, for , they do not “say”anything not do they

when that emerge through the the through emerge that Resistance ness images

refusing to define it it define to refusing lacked immediate immediate lacked when adopting the the adopting when ,

in art criticism, art in n sgs in signs and

(2005)

the

t post at was no was image. image. . His His . ” - -

CEU eTD Collection lines molecular mostly De a in as differentiated explains factory Deleuze the which then segmantarity” and “rigid of “family are events: of listing lines chronological segmentary The trajectories. these 17 fact, in endeavors, two These posters. and images of visuality the and even, concerts films, heteronormativity. visuality queer opinion, non gender and sexual of images visual histori e 21 the in normativity exiting and flight” subversive queer between commonalities some are there that suggest I follows what in such, as treated pre not Though foreseeable, not unknown, is which destination a towards “ is and society constitute that lines of kind third the of concept of concept the through ness” travelling the with overlaps circuit festival the in work clearly. xisting forms of representation“ of forms xisting

According to Deleuze to According s f oehn crid s wy ars or emns bt lo cos u thresholds, our across also but segments, our across away, us carried something if as the

in the post cally and politically situated “acts of escape“ of “acts situated politically and cally

and reformulated them as them reformulated and aadpuo, tpesn an Stephenson Papandopoulos, I

partly established established partly

My his mgn the imagine lines of flight of lines signs and lines offlight.andsigns lines

optimism for escape for optimism concern is with the ways in which the travelling of visual (and p (and visual of travelling the which in ways the with is concern . They are said to attempt to block the movement of the lines of flight.of lines the of movement the block attempt to to said They . are - ez ad Guattari and leuze Yugoslav region.Yugoslav - Queering concerns both the visuality of the art works works art the of visuality the both concerns Queering

and then retirement” retirement” then and (2007)

ok f po of work

exit sign exit

–

“

creative trajectories creative our life is made up of these three kinds of lines, or rather it is organized along along organized is it rather or lines, of kinds three these of up made is life our molecular lines molecular t etvl time festival at

st . -

from control control from profession; job profession; ( “ (2004) For the For st century. Ibid.

escape routes escape - uolv ue iae uig h fgrto o escape of figuration the using images queer Yugoslav

Ts d :XV) : the more rigid and hierarchical hierarchical and rigid more the : (ibid:124) -

omtvt a qer etvl as festivals queer at normativity metaphor of exit si exit of metaphor ” They 17 ian , while while , . 47 –

- is both contagious and guarded, and should be be should and guarded, and contagious both is Lines of flight are “strange” in that in “strange” are flight of Lines

holiday: fa holiday: - ( os fleeing in addition in pc open space

. Furthermore, there are two kinds of segmentarity segmentarity of kinds two are there Furthermore, . ” in fact in

that describe the ways of escaping capture capture escaping of ways the describe that 08 hv rvstd eez’ “ie of “lines Deleuze’s revisited have 2008)

exit ( Ibid.

control. of the concept and practice of “queer of practice and concept the of

conceptualize escape as “ as escape conceptualize mily is one of various possible, ambigous, possible, various of one is :55) to - s

. Following their lead, their Following . and then school school then and gn the

For Deleuze, lines of flight are are flight of lines Deleuze, For p poss up I draw I “ molar oa lines molar

existent” existent” blte o exiting of ibilities

on Deleuze on lines - xt signs exit

and then the army army the then and – erformative) art art erformative) ”

ad oe fluid more and ,

performances, that are fixed are that a betrayal of betrayal a

( their effect their Ibid.

I think of think I ’s .

(2007) In my my In : 125) - - .

CEU eTD Collection opportunities. communit and identities as serve posters same heterosexist monoreligious monocultural, which in ways and times post the from i small a build detail on poster images thatsignal acts ofexiting. heterogenei this with deal to begin even cannot I Since minds. viewers' in reception their and art, of works individual of those as well as events, exhibitions, performances, individual at created images visual include they fleeting; control“ of regime existing an of equilibrium the rupturing potentially is which energy of form a “creates it that in creative subversion. of strategy situated as emerges escape ethnography, festival effects empowering and creative have can that transformation” Tsianos and Stephenson events festival signs choose I projects. separate as analyzed be can /

images to see what kind of exit or entrance invitations they invitations entrance or exit of kind what see to In Section 6 Section In art the to approach My , aware approach this complete that justice does do tothe not -

Yugoslav queer festivals and put on their walls. their on put and festivals queer Yugoslav nconclusive archive of exit signs exit of archive nconclusive I do, however, see in these posters, in posters, these in see however, do, I as time as .1, I .1,

space nrne signs entrance I agree with Papandoupulos, Stephenoson and Tsianos that esc that Tsianos and Stephenoson Papandoupulos, with agree I will interpret the posters of the of posters the interpret will ’

e, r nbe ces o aiu dsusv ad organizational and discursive various to access enable or ies, (2008) ue Zagre Queer sites works (

Ibid. nesadn o escape of understanding of regionally situated subversion situated regionally :52)

exhibited at the post the at exhibited no aiu mcaim o belonging of mechanisms various into ty, I do not talk about talk not do I ty, Qer mgs t festivals at images Queer . b disposition

posters posters 48 theref

–

posters that my interlocutors brought home brought interlocutors my that posters – e ue a ei sgs onig u of out pointing signs exit as used get . Neither do I count the times when these these when times the count I Neitherdo . ore ore

the viewers' encounters with them with encounters viewers' the as a locally and regionally informed informed regionally and locally a as

ten years of years ten to look at the posters the at look to - as an “often neglected engine of of engine neglected “often an as Yugoslav queer fe queer Yugoslav provide for provide “ escape routes escape What I cannot do is count the count is do cannot I What ( Ibid. draws on draws Queer Zagreb Festival Zagreb Queer r mlil ad often and multiple are :61)

their viewers. I viewers. their routes . In my reading of of reading my In . “

Papandopoulos, but concentrate but stivals and the the and stivals – . -

o particular to focusing on focusing ape is ape , and , also

in CEU eTD Collection traces. its of some canintuit one one, easily is that practice a not is normativity Escaping encountered. m I that control the of one interpretation, my in is, photo second Ivana's space. wall white available the of all almost up taking bed, her above are posters the of loca the kapitalizma). “Subvers series lecture a anarchist ongoing shows the for poster white and black a is other The post all of popular most the was of which 2007, from creativity the of support ( photograph in argument an as point 2007 the of trace the at volunteer Ivana,a sign. exit function to as an able been has that visualimage one with briefly engage however, 18 c we how and what influences that mechanism cultural and social the describing visuality, is cultures across differed also that recognized is it though studies cultural of see to humans’ of ability physiological the describing Vision, seeing. differentiate conceptualized. been have visuality and visibility vision, their presence wallsof traces some ontheirevidence home ofthe escape energy of ome to see, to ome

The discussion The Queer Zagreb Festival Zagreb Queer tion of the posters and their importance for her. The room is small, and her half of it even smaller. Both Both smaller. even it of half her and small, is room The her. for importance their and posters the of tion

The second photograph ( photograph second The Figure c Another

figure with a face mask and the title “Attack on the symbols of capitalism“ (Napad na simbole simbole na (Napad capitalism“ of symbols the on “Attack title the and mask face a with figure Figure

between vision vision between 1: Ivana A Ivana1: “ Queer Zagreb Queer how we see, how we are able, allowed, or made to see, and how we see this this see we how and see, to made or allowed, able, are we how see, we how

of my provisional archive of queer exit signs remains out of the scope of this thesis. Let me, Let thesis. this of scope the of out remains signs exit queer of archive provisional my of

1) shows two posters that she has chosen to display over her bed. One is the Dimchev poster poster Dimchev the is One bed. her over display to chosen has she that posters two shows 1) uil di rucial nić,“Ivana's wall,“ 2013; Figure wall,“2013; nić,“Ivana's , sent me two images of the walls of her shared student dormitory room. room. dormitory student shared her of walls the of images two me sent , tnto ta informs that stinction

poster on the walls of Ivana’s student dormitory is important to introduce at this this at introduce to important is dormitory student Ivana’s of walls the on poster Figure (Nelson and Shiff 2003, 4 2003, Shiff and (Nelson - ost powerful visual representations of my informants' tactics of escaping escaping of tactics informants' my of representations visual powerful ost

cul capacit actual

2) shows a larger plan of Ivana's room, which gives us a spatial sense of of sense spatial a us gives which room, Ivana's of plan larger showsa 2)

Queer Zagreb Queer t se ad visuality and see, to y 49

understanding

2: Ivana Anić, “Ivana's room,“ 2013. room,“ Anić,“Ivana's Ivana2: my research is the difference between how how between difference the is research my

visual representations for most of my in my of most for representations visual - Y ugoslav queer festival visuality. visuality. festival queer ugoslav 54; see also Brennan and Jay 1996) Jay and Brennan also see 54; eae wti clua st cultural within Debates s

of this faculty of vision have vision of faculty this of captured

- ,

falls outside the scope scope the outside falls the the , yet in an image like this this like image an in yet , ions“ (Subverzije) that (Subverzije) ions“ cpc regimes scopic

18 h close The

. terviewees. terviewees. The visual visual The

udies udies

. It . - up up of CEU eTD Collection wanted I analysis. ( vision” of field that within act and produced be will subjects and example, for unseeable, ma “will visuality particular (2007) interest its in further step a goes necessarily research my However, Croatian in negotiations concrete in use social dynamic components those of all incorporating as years 142) 2007, Rose in 4 1998: culture” high through and within possible made knowledges and values the and critici of structures and language the images, visual of fo that relations social relations. term the as here perceived are activism, visuality and arts queering chapters onthe the last decade my guides communi explored. therein” unseeing the and seeing Ibid. framework for the questions I asked in participant observation and interviews and observation participant in asked I questions the for framework :143)

Art historians using historians Art in interest Theoretical ons u, iult isl cn e ocpulzd s fr o dsore Tu, a Thus, discourse. of form a as conceptualized be can itself visuality out, points - is ad hi implications their and ties,

t s hs analytic this is It Th . . that structure the ways we see we ways the structure that focus on changes in how it is possible to see to possible is it how in changes on focus

is is the main theoretical concern that informed my fieldwork and visual visual and fieldwork my informed that concern theoretical main the is is Zagreb F

to find out about the discourses of visuality at the festivals: how they are they how festivals: the at visuality of discourses the about out find to rm a particular art discourse including discourse art particular a rm estival investigate . The The . the . I understand the post the understand I . l neet n ue visuality queer in interest al ke certain things visible in particular ways, and other things things other and ways, particular in visible things certain ke h rltosi between relationship the Foucaultian framework have specified the extent of visual and visual of extent the specified have framework Foucaultian particular forms of knowledge of forms particular intersectio

Fse (98 I) n oe 07 2) 2007, Rose in IX) (1988: (Foster

o LB politics LGBT for

objects, objects, organizational ns of of ns 50

–

art subjectivities, possible actions, and s and actions, possible subjectivities, iul txul n isiuinl ad their and institutional, and textual visual, - Yugoslav LGBT activism of the last ten last the of activism LGBT Yugoslav sm, cultural institutions, publics for art for publics institutions, cultural sm, discourse iiiiy n vis and visibility , artistic and audiencing strategies of , artistic and audiencingstrategiesof non

n ohr pos other and in rdcd y n aon festi around and by produced

- everything from ”concatenation from everything normativity in the region in the in region the in normativity the

in Foucault’s in s el s the as well as post - in Yugoslav region, that that region, Yugoslav t

- h vsa. s Rose As visual. the aiy has uality uolv societies Yugoslav ,

that needs to be be to needs that

(1980) (Lynda Nead (Lynda icus of discourse . Analytical

provided provided sense of sense ocial ocial val val .

CEU eTD Collection world the see we how on impact overwhelming its through alsophotography of medium the Summa” Little A “Photography: photography ambiguous readings. visuality puzzle as affective posters significant festivals’ at pause to decision methodological my influenced have materiality Sontag’s (1990) photographs p its of travelling and Z of genre the regarding work theoretical the by influenced is research this potential, subversive its and work/image art the visual fields aroundsexualized visual andperformativearts. of workings particular in visibility queer (around) generating context “ a construct images th share necessarily non of representations visual audiences organizers festival the by created and imagined agreb F agreb

s otgs igahr ona Sayres Sohnya biographer Sontag’s As t to comes it When although that, understand I However, search for emotional truth and consolation in the photographic image, and Susan Susan and image, photographic the in consolation and truth emotional for search Tona 20, 29) 2007, (Thornham

estival . hy oe o ersn, hl a te ae ie hy lo otne o invite to continue also they time same the at while represent, to come they 20; 09 2010) 2009; (2004; they ,

through

ucin s tl images still as function sm eoois f looking: of economies same e

ge ses n vsa mtras A materials. visual and osters drd il o vsa pleasure” visual of field ndered h gne f htgah ad t connections its and photography of genre the the analysis of its posters, but I was also interested in interested also was I but posters, its of analysis the he question of the relationship between the medium or the genre of of genre the or medium the between relationship the of question he - photography. I approach t approach I photography. ics ht eae oehn o te po the of something relate that pieces - omtv sxaiis n post in sexualities normative Ti research This .

ure fsiain ih h poorpi atsr and artistry photographic the with fascination guarded post –

different art forms at queer festivals queer at forms art different 51 , Sontag explains her lifelong fascination with fascination lifelong her explains Sontag , s htgah, woul I photographs, as - Yugoslav analyze

and artists and (2009) anig poorpy and photography painting, tog not lthough s he visuality of ten of visuality he

n as pcfc o t mdu and medium its to specific ways in h wd rne f iul materials visual of range wide the tts u fcss oty on mostly focuses but states ons u, in out, points , -

Yugoslav and

discussed and used by used and discussed all age Bt Barthes’ Both argue. d

of them are originally originally are them of countries werfu

to the gendered and and gendered the to

e fnl e final her years of the the of years non l the materiality the , they do not not do they ,

all produce produce all advertising - normative ssay on on ssay Queer their their

the –

CEU eTD Collection 19 as metaphors b t that out point shall I visuality or Girls” Dead “Fine film Croatian chara queer cinematic European Moss Kevin by analyzed been has visibility metaphorical Such else. something of metaphors as queers represents that visibility representations activist visibility meant and represent, they art the posters, The region. the in and contexts Yugoslav queer the politics, LGBTQ to approaches politic reading close in engage material world that seeing of ways chosen the and represent they world the about make that fragments the photography of medium world the see we which perception our conquered so has photography

Con cerning the reduction of the reduction cerning

al as well as aesthetic effects. Though in many ways representing representing ways many in Though effects. aesthetic as well as al direct visibility of of visibility direct The importance of these queer visibilities visibilities queer these of importance The analytical the in see will we As

ity they embody and thestrategiesity subversionembody they they of record keep of.

reclaim achieved ut as “faces” ofpost ut as“faces” art has festivals, s

the images of queerness for for queerness of images the at Zagreb Prides. he performance stills performance

– has increasingly has the Roma in East European in East Roma the p post up actual

f etvl aeil, post materials, festival of s “fragments” as osss n hi dsac fo te substitu the from distance their in consists

visuality of the of visuality

LGBT brought aboutconsiderable progressive changes int - tr it mtpos f oiia troubles political of metaphors into cters uolv ue vsa images visual queer Yugoslav - Yugosl

(2004) the Serbian film “Take a Deap Breath Deap a “Take film Serbian the visuality of the the of visuality hi au their

chapters persons in Croatia in persons

influenced

Sna, 07 i Sye 20, 226) 2009, Sayres in 2007, (Sontag, of queer artists on the Zagreb posters do not serve not do posters Zagreb the on artists queer of h age aant the against argues who ines perceptions dience’s 52 Queeroslavia. Queeroslavia.

its to function as the “modern the as function to

Queer Zagreb F Zagreb Queer

movies to metaphors movies to (4, 5 and 6 and 5 (4,

own very different purposes. In my analysis analysis my In purposes. different very own –

Zagreb - our ways our

Yug n ter eoitos f ritc and artistic of negotiations their and . oslav queer festival festival queer oslav ), especially ),

It has It

F estival, and estival, of seeing of estival

. , see Dina Iordanova Iordanova Dina see , a tl u smtig both something us tell can compliment t h sm time same the At

lteig out flattening

aimed in those sections those in , e r metaphorical or te

I strongly feel that feel strongly I – that ” way of way

19 sc a i the in as such , both through the the through both

. Queer festival Queer . ed at queering the the queering at

of other post other of contradictory images

Wie the While . the politi the

of seeing” in seeing” (2001) heir local heir local

, Eastern t also it

have have .

that that

cal -

CEU eTD Collection pover against and rights welfare recognition for struggles and Fraser Nancy to According movements and(Papadopoulos, Tsianos2008) Stephenson, (Fraserand Honneth 2003) 1994) p on theories movements social in discussions Furthermore,both and festivals arts queer and organizations LGBTrights both definition, identities collective around formed and conflict; cultural or political S movement. that visibility for movements. politics social of significance the former: the of discussions some to turn I section, this In representations. non of visibility two: or queers that visuality and expression) gender(and sexualities normative are lines” “desire prominent most the that argued have I images. throughmay queer wantqueer communities what of stakes the Iidentified have 2.1 In Section 2 .2

ot f the of most ae at n the in part take , and Th Diani Mario LGBT e analysis of the strategies of visibility politics employed by different social social different by employed politics visibility of strategies the of analysis e on differentiating between s between differentiating on a b dsusd n em of terms in discussed be can ca mvmns r ntok o informa of networks are movements ocial Transformative C

prahs ge uo tre an hrceitc o wa mks social a makes what of characteristics main three upon agree approaches organizations are organizations (1991) oil oeet family movement social

(such as LGBT movements) LGBT as (such ,

surveyed to the debates on Axel t ollective y)

social movements for recognimovementsforsocial

the studies the Honneth hi dfeecs r age t b reflected be to argued are differences Their ocial movements for recognition and for redistribution for and recognition for movements ocial

s the the 53

. through Visibility (2003) the categorization of democratic struggles. struggles. democratic of categorization the

ltc o recognition of olitics i St in , of social mo social of r ights andrepresentationapproach topolitics , social movements can be divided into divided be can movements social ,

and for redistribution for and vn uclrs words Buechler’s even itrcin organized interaction; l vements since 1960 since vements tion. tion. count as count

Politics ( Ibid. This (Taylor and Gutmann Gutmann and (Taylor subverts hegemonic subverts :17)

social movements movements social s

ection (movements for (movements . Following .

s, 19, 42) (1990,

relatesthe and found and around a a around

this this the - .

CEU eTD Collection between representations, visual subversive of the for argue to and gaze, panoptical the of power the rewriting of impossibility Foucault’s and visibility for struggle movements’ LGBTQ between contradiction other testifies options to and “med the of institutionalization the of analysis his through T power/knowledge. of shown are subjects According worknotably Foucault’s inMichel has visibility However, rearticulating rea reco for struggle feminist of phases initial The terms. own their on visibility that movements extension My ( group “ visibility that differentiation group emphasize recognition for fighting pa of tactics and motivations different dedifferentiation pprop

of thepanoptical gaze architectural formulations of poverty) and therefore and poverty) of The visibility. of matter a as discussed be can movements social of objectives Political riate moveme the hand, other the On . visible

o ocut tee s ohn “natural” nothing is there Foucault, to a i wih vis which in way o reco for

the terms of hegemonicthe terms visibility. stereotypes of Fraser and Honneth’s discussion discussion Honneth’s and Fraser of

as what has been ma been has what as ” nto in gnition

or ht nal the entails that gnition seen hey make make hey the als , for instance, employed cultural strategies of of strategies cultural employed instance, for , . T .

o political implications of visibility. political implications use group differentiation through visibility politics politics visibility through differentiation group use he practices of exhibiting and looking are tied to th to tied are looking and exhibiting of practices he en hoie a a atr f oil oto ad disciplining, and control social of matter a as theorized been form the blt i ad hog discourse through and in ibility they will will they (1980) it rdcto o te odtos ht ige hm o them single that conditions the of eradication de visible in terms of terms in visible de possible possible

I refer to to refer I f search of rtic

on the interconnectednesson the and ofpower knowledge. turn away from using strategies of gr of strategies using from away turn pns n hs mvmns S movements. those in ipants 54

o something for

nts ing Rosemary

concerns

about the ways in in ways the about fighting for ( dominant regimes of looking, of regimes dominant oiie images positive ical gaze” in 18 in gaze” ical Ibid. Hennessy’s Hennessy’s In order to resolve the apparent apparent In the toresolve order the ways in which the social social the which in ways the

to be seen, which he shows shows he which seen, be to as well as well as opens some while precludes precludes while some opens mlcts cam to claim a implicates :146 o rdsrbto ot for opt redistribution for – 147)

gay lesbian cultural cultural lesbian gay hc objec which . (1994)

ca movements ocial th challenging and and challenging hl trying while

century France century oup visibility oup

e to claim to the to claim possibilities

distinction operations operations negotiate t s a as ut

s and ts grou

and

to p .

CEU eTD Collection artistic recognition for fight that movements social 2008) Jet and Jeremić, Puača, LG the and 2004) Vuletic 2001; ‘ mid in visibilit LGBT politics. visibility socialist Fejes Narcisz and Balogh collectives. particular of epistemologies standpoint the to practices reading and viewing countercultural “ been also whic through strategies The politics visibility under Fraser’s of instrumentality the between balance provides It recognition. for movements social within strategies visibility of uses the analyzing to approach integrative the reinforcing necessarily seen, be to supposed th practices viewing “ counterculturalthrough community seeable oppositio r e gms f iult, n o seeability of and visuality, of egimes

The recent volume on “ on volume recent The

rcie o mkn iett visible. identity making of practices 80s in Slovenia in 80s as what has become possible to be seen seen be to possible become has what as a reading nal

Hennessy . /queer festivals throughout the region in the last decade last the in region the throughout festivals /queer

hoie a te rcie o of practices the as theorized y politics have traversed a long way from from way long a traversed have politics y

and Foucault’s skepticism of its embedd its of skepticism Foucault’s and ( Ibid. ;

the ” makes it possible possible it makes

:125)

rw atnin to attention draws S Hl 19, 127) 1992, Hall (S. frames of knowing” of frames (Velikonja 2003) (Velikonja first Pride marches Pride first (2013) n y edn o ohr uhr i m fed t field, my in authors other of reading my In scopic h marginalized spectators make spectators marginalized h . Her theorization of visibility of theorization Her . . The debates about the empowering potentials of visibility for for visibility of potentials empowering the about debates The Queer Visibility in Post in Visibility Queer

studies the specificities of varied local approaches to post to approaches local varied of specificities the studies regime. o me for ; the ‘90s activism in Croatia and Serbia and Croatia in activism ‘90s the ;

ht is That s rtcl ipsto ta expo that disposition critical as

lentv m alternative in several in 55 articulated

are “

In poiinl gaze oppositional

ht on to point that

to post aig place taking Hnes’ faeok enab framework Hennessy’s , n the on argue - uolv onre, h LGBT/queer the countries, Yugoslav - cities

socialist Cultures” edited by Andrea Andrea by edited Cultures” socialist from the positions of non of positions the from

the

that not all forms of visuality are are visuality of forms all not that edness in the regimes of visuality. of regimes the in edness seeable” “made are that eanings

terms created by the stigmatized stigmatized the by created terms that functions in accordance with accordance in functions that

first lesb first ifrn visuality different since 2001 since

n oncin to connection in the ”

(Puača 2005; Puača 2007; Puača 2005; (Puača osbe oncin of connections possible hos 03 94) 2003, (hooks ian and gay organizing organizing gay and ian

on e p he

(Duhacek 2011) (Duhacek e wa i not is what ses

ost seeable

activist and and activist - tnig of standing les a more more a les hegemonic - Yugoslav Yugoslav

(Sagasta (Sagasta ,

have have and and - , CEU eTD Collection the produce to there is what ask to possible it makes This harmful fixed inherently is identity that assuming of impasse this of out as both function revolve to said the perspectivesrunningcounter tohegemonic representations co 55 2008, Tsianos and Stephenson, (Papadopoulos, trans and challenging of capable subversion creative of contrary, the weakand irresponsible“ 2007) (Rose a of uses multiple the of analysis representation. artistic of others at visibility, social of matter analysis of practices artistic for as activist for equally Foucault’s andrecognition, represent with representation, visual with concerned festivals. queer regional of spaces in and Belgrade; and Split, Ljubljana, Zagreb, in marches Pride through streets the on negotiated are politics visibility mbiguous markers of social visibility, while at the same time taking seriously their visuality visuality their seriously taking time same the at while visibility, social of markers mbiguous rsod o ensys seeability Hennessy's to rrespond “ ue dilemma queer Fraser’s discussion of social visibility as one of the s the of one as visibility social of discussion Fraser’s The politics of visibility has become one of the key fields in which the de the which in fields key the of one become has visibility of politics The might be in arguing that identity is a concept and as such a discursive articulat discursive a such as and concept a is identity that arguing in be might ed

exit signs ofqu exit

and how . A . see escape as belonging to the “ the to belonging as escape see

around the paradox the around lthough in politic in lthough the “ the ” , inparticular through

basis for oppression an oppression for basis s ocpulzd y Gamson by conceptualized as

reaction to social conflict, my research draws on perspectives that, on that,on onperspectives myresearch draws conflict, reaction tosocial eerness in theori al and social theory, social and al zation queer of post b :

making a making

of regimes of visual representation, representation, visual of regimes of

- t cnet describe concepts oth Yugosl mgs ht hy ucin as function they that images . practices of practices Both the the heart of social conflict, and (constituting) a form a (constituting) and conflict, social of heart d the basis for political power” political for basis the d 56

negotiations claim to identity to claim

av countriesav of these theoretical approaches theoretical these of

– (1995) 56)

visual semiosis atqueervisual semiosis festivals escape Iaie i ti wy ei signs exit way, this in Imagined . discursive

omn te odtos f powe of conditions the forming seeable

are f ht s ae possi made is what of –

My goal is goal My for struggles social in trategies

is often discuss often is On the other han other the On

recognizing them recognizing

: identity categories seem to to seem categories identity : lyd u. h dilemma The out. played visual practices that make make that practices visual .

n a sc hrig and harming such as and effect of a stable identity stable a of effect

to xt signs exit are of importance areof show through the the through show

( Ibid. ed as “ as ed d, visuality is is visuality d, bates around around bates at as times a to speak :3)

l to ble . A way A . ht are that passive, passive, .

ion. the be be r“ is

CEU eTD Collection 2001) Simic non around solidarity possibilityof the demonstra politicized highly group stigmatized non gender and sexuality of context the in ethnicity and sexuality of would “fundamental” are of cultural ideology i v markers social of functioning the to connected mostly operate relations power because problematic prove would it Alcoff, to According dispossession. of forms actual the consideration into taking if difficult more be would which and identities of skepticism intellectual reinforces contexts particular in lives people’s on identities identity” of democracy. “pathologization to danger a hence exclusionar always as identity of perception the upon identifications. belonging queer shortcuts exclusion. ask also can we time, i. e. modes of exclusionary ruling that are that ruling exclusionary of modes e. , nevertheless, , h “utrl anxiety” “cultural The Alcoff justifies her focus on gender, ethnicity and race as visible social identitie social visible as race and ethnicity gender, on focus her justifies Alcoff , practices of making seeable making of practices ,

lhuh self Although . That visibility struggle in post in struggle visibility That .

. in that they cannot be dissimulated as class or or class as dissimulated be cannot they that in

(Ah The

n people’ssense ofidentity. like to extend her analysis of visible social identities to the intersections the to identities social visible of analysis her extend to like e 2006) med

how Pride marches in marches Pride - normativity is in the very the in is normativity - dniiain s o ncsaiy sufficient necessarily not is identification tions

dniiain can identification

s btatd away abstracted is bu iett i te cdmc rn ad n oiis s built is politics in and arena academic the in identity about

that

a pit oad uh non such toward point may Linda

once a year a once - (Hennessy 1994) (Hennessy normativity

Zagreb partly enacted via visual signif visual via enacted partly the - 57 Alcoff Yugoslav countries countries Yugoslav

pos isible on our bodies revealing the i the revealing bodies our on isible e n effect an be , and at times in Belgrade and Ljubljana, and Belgrade in times at and ,

make visible the extent of homophobia and homophobia of extent the visible make rm h ata ifune f stigmatizing of influence actual the from its representatives’ its (Dota 2011; Duhacek 2011; Kajinic 2003; Kajinic 2011; Duhacek 2011; (Dota t - center

Yugoslav region Yugoslav y, i.e. an act of stigmatizing others stigmatizing of act an i.e. y, (2006) ( Ibid. in unexpected ways, and practices of of practices and ways, unexpected in

of :11)

collective claim collective rus ht the that argues f non of . This systematic oversight oversight systematic This . sexu is

not manifest only on the on only manifest not - -

ality might be might ality tgaiig n non and stigmatizing exclusionary where the visibility of of visibility the where anti

ication. At the same same the At ication. for - identity positions, positions, identity - viig such avoiding making by the the by making intell nvestment

(Ibid.) acts of of acts ectual s that s

and are . I . - CEU eTD Collection 0 Festival 20 resistance as 2004) Vuletic 2003; Vuletic 2008; (Djurkovic in belonging national/ethnic and religious of articulations various with entails it danger ( acknowledging” in “avoidance Murray the in visibility extent large and survival their for with communicate legitimacy. they communities the they and fields within institutional the gravitate on both depend so and requirements, institutional changing hand, other the On festival. them of independent degree as act Gamson to According identities. collective of formulations of influence formative ident collective on festivals queer of impact The general. in formation community for potential yearin the same Festival Belgrade streets Ibid.

(Accessed November 26, 2013). 26, (AccessedNovember See theSee te i nt clear a not is ities :14)

“ but also in the spaces reserved for “culture” “culture” for reserved spaces the in also but on the webtheon I argue t argue I Regarding the field of f of field the Regarding

community orga community “Queer Sarajevo in “QueerSarajevo (1997) . The specificity of this new visibility has been analyzed in terms of the sense of sense the of terms in analyzed been has visibility new this of specificity The .

in reaction to reaction in (Puača 2005; Puača 2007; Puača, Jeremić, and Jet 2008) Jet and Jeremić, Puača, 2007; Puača 2005; (Puača

hat 20 post - s oiia htrsxs. Its heterosexism. political as (Lambevski 2009; Radoman 2007) Radoman 2009; (Lambevski page of the Organization Q at: Q Organization ofthe page

) in 2008 in . the

- Yugoslav visibility politics of post of politics visibility the the - - nizations” cut or undisputed process, given the continuous though underrated underrated though continuous the given process, undisputed or cut a -

box”, the account of the events, aims and the closure of the first first ofthe the and closure aims the events, the account of box”, (Grew 2008) (Grew the raiainl rcie and practices organizational

since they practically gather once a year for the occasion of the the of occasion the for year a once gather practically they since e ons u that out points he

constraints estival studies, f studies, estival public sphere public non

and - normative sexual behavior in hope in behavior sexual normative

represent those communities, still they are to a g a to are they still communities, those represent , and the closure of the first the of closure the and ,

http://www.queer.ba/en/cont by

58 challenges what has been theorized by St by theorized been has what challenges ethno , and with and , - estivals have been discussed in terms of their their of terms in discussed been have estivals he

Yugoslav LGBT movement(s) LGBT Yugoslav eoi “il o t know” to not “will gemonic the festivals negotiate within the field of of field the within negotiate festivals the (see, for instance, instance, for (see, - . nationalist heterosexism. heterosexism. nationalist Post the the practices of of practices - Yugoslav queer visibility intersects visibility queer Yugoslav (1996) institutional ent/queer , although LGBT festivals LGBT although Queer Sarajevo Festival Sarajevo Queer the attacks on the on attacks the foregrounding sexuali foregrounding . the

In this new space the the space new this In that that

- field sarajevo post it will disappear will it The n The

- ncags in changes on is formed is Queer Sarajevo Sarajevo Queer conflict space conflict - is festival ae on based ew queer queer ew Queer ephen ephen - 2008

to a a to rea ty - t

CEU eTD Collection post in festivals queer and marches Pride through visibility queer of decade festivals queer visibili of regime nationa contemporary and historical in heterosex “ that ensure which commitments” “heterosexist of functioning on structured project historical a as category nationalism identity Interrogating collective a as nation of concept the gender, and may images and (hetero)normativity unnamable: previously was what name T expression. post in solidarities queer that reaction post of imaginaries nation politics and tactics the used have Europe for art sculpture” artist feminist Croatian contemporary what to similar is h of practices and meanings the of rethinking post Feminist research of genderand nationalismFeminist research of - Yugoslav queer festivals can be seen as generating instigate Yugoslav alternative as festivals queer canseen public spaces that be iculation of public discourses”iculation of public

(Berlant

While some LGBT/queer movements both in Wester in both movements LGBT/queer some While and heterotopias can themselves be exclusionary, for instance for exclusionary, be themselves can heterotopias and s

to the visibility of LGBT activism in public in activism LGBT of visibility the to

through public controversy that cre that controversy public through hese

may and Freeman 1993; Imre 2008; Renkin 2009) RenkinImre 2008; 1993; Freeman and emerge

Boja ty through the moments of queerness queerness of moments the through ty

new - challenge the heterosexist grounds of national identiti national of grounds heterosexist the challenge omns cutis ae en structured been have countries communist na Pejić na representations

as entrance into signs that of communities gathered around around gathered communities of (2005) - uolv tts rn aot e possibilitie new about bring states Yugoslav

( Ibid.

, has has

Sanja Iveković Sanja expressed lisms lisms :1) pointed out when she she when out pointed f reclaiming of the . 59

egemonic forms of art and culture. The process The culture. and art of forms egemonic

ates productive discussion and “ and discussion productive ates “ Ptro 19, 53) 1999, (Peterson

normality

problematiz xsec o patcs f saig local escaping of practices of existence in

arts and activism help activism and arts ,

(Graff 2009; Radoman 2007) Radoman 2009; (Graff who is said to be to said is who ”

generated

ainls ad belongin and nationalism as well.

e , for the most part, the nationalist the part, most the for , n Europe and in Central Eastern Central in and Europe n d Alr 20; eesn 2000) Peterson 2001; (Atluri

the heterosexist foundations of the heterosexist queer a queer hm Hwvr tee vi these However, them. analyzed by

. The disruption of this this of disruption The . around visual culture at at culture visual around upeso ad violent and suppression , on the basi the on , gendas”

one es. creating “public a “public creating o articulate to the reveals ism

P art

rior to the last the to rior be cultural space space cultural - s of class or or class of s o visual of s work by work

overlooked overlooked - Yugoslav . t the to g I argue I

sual and the the s .

CEU eTD Collection ZagrebF through the 21 Footnote the of members the have to seem who the in evident is reactions public in difference This opposition. little attracted festivals arts while Prides, forms from different chronotopes disciplining, of mode violent) (less one that declar electricity” majoritariangroup su the that oppression Scott James what by vi of politics the decade, last 2004) 2007) there countries With full respect for tolerance for respect full With 21 is festivals queer as such events cultural through achieved visibility The of moment the describes Scott co and city isnegative. history of testimony The will continue. children, manifestations such our of future the will how of question the pose We that conclude will strives to rendertostrives

of and visibility of practices the to comparison in However, . , and lesbian ation of the hidden transcript” hidden the of ation Instructive is the following reaction of a local religious activist to visibility of queerness br queerness of visibility to activist religious local a of reaction following the is Instructive f visibility of

(

) that disrupt thecontinuationthat disrupt ofinvisibility this Ibid.

h hl a counter a held who initial h public the was :206) estival:

and gay organizing since the 1980s gay 1980s andorganizing since the done the work of translation of work the done ( Queer (Zagreb Festival) (Zagreb Queer eevd ifrn pbi ratos oe homophobia open reactions: public different received up toapointwhen thechange happens until

Church of the Full Gospel Full the of Church

queerness invisible in contemporaryin invisible queerness a rich history of “homosexual” everyday life life everyday “homosexual” of history rich a lack of comprehension of lack :

this is the energy of “ of energy the is this (2008) odntd ru mmes oca i cmuiain rm the from communication in conceal members group bordinated

visibility sibility in the 1980s can be seen to be to seen be can 1980s the in sibility

and human rights, after analyzing those events, each conscientious citizen citizen conscientious each events, those analyzing after rights, human and

calls - eosrto a te pnn ngt f h 2004 the of night opening the at demonstration t h annual the at

eoig ulcy iil a a isac o “political of instance an as visible publicly becoming

( idn transcripts hidden Ibid.

is a deviant cultural event whose goals are pretty insidious (…) (…) insidious pretty are goals whose event cultural deviant a is I :224) argue of what “queer” what of 60 oileetiiy eeae ytefrt public first the by generated electricity social

(including their leader Župančić, cited Župančić, leader their (including . in th in

ht the that In so far a far so In

Zagreb e first e (Sagasta 2001; Velikonja 2003; Vuletic (Sagasta 2003;Vuletic 2001; Velikonja

post ue at fest art queer – 21 rd mrhs T marches. Pride years

. s the heterosexist the s

raie shared creative, -

Yugoslav societies Yugoslav actually means. The on The means. actually (Župančić 2005, 1) 2005, (Župančić ) .

of the Zagreb F Zagreb the of untry look like if the support for support the if like look untry

at least partially informed informed partially least at queering visuality of the the of visuality queering Dboi ad Bosanac and (Dobrovic ivals ivals accompanied the the accompanied , he

a b seen be may however, partly partly however,

knowledge “overlooking” two two

estival functions as functions ought about about ought different ly ones ones ly Queer in the in

were

as as of

CEU eTD Collection Yugoslavcountries conceived, inresponse tothequeer dilemma visual strategies 2 qu revealed protests street LGBT to reactions negotiation cultural and political recognition, social for fighting and identities in presence and rights political for 5 inco and organizers an about paranoia o to disloyalty and homosexuality between locally forged link 3 2007, the since plague dec the presenting “ God”, and banners Zagreb .2) .3 eer visibility, namely

Iargue differingapproaches two, br correspond that politics at tovisibility least to discussed I section this In .

, , shouting , Queer

– has been high on the agenda the on high been has

with 4) that in addition to heteronormativity to addition in that mid . T . Imm warnings he slogans of the of slogans he -

1980s Seeability orality in the name of culture?”, “Big sin on small birth rate” birth small on sin “Big culture?”, of name the in orality messages through the through messages line of the bi the of line endangered . Generally speaking,. Generally r

porated into the 2004 program 2004 the into porated and p and

suc ethno

h as: “Homosexuality is a sin”, “ sin”, a is “Homosexuality as: h layed an important an layed -

nationalism andpolitic how visibility how because because rth rate). T rate). rth Church of the Full Gospel Full the of Church s as opposed to opposed as

f visibility. of the of conservative currents in currents conservative of

public space. public megaphone. childless Croatia childless some LGBTsome visibility campaigns he concern with low birth rate, the so the rate, birth low with concern he

61 there is anotherset is there politics

role

queer arts festivals. An i An festivals. arts queer

einl GT movements LGBT regional I discussed different public perceptions and and perceptions public different discussed I

n h “rdcino ethnicity” of “production the in (see more about this in Section in this about more (see They expressed their disapproval also on also disapproval their expressed They

al heterosexism. As serve LGBT communities in a struggle a in communities LGBT serve

informal networks sharing collective sharing networks informal is taken up taken is

demonstrators highlight the strong strong the highlight demonstrators Homosexu

in the urban in locations of oppressive norms ref norms oppressive of

es nat ne’s all

former by the by ality nters

io use thestrategies – . hs religious This n.

ectional analysis analysis ectional

Queer Zagreb Queer Yugoslav states states Yugoslav sin against man against sin r eggd in engaged are

(with a graph a (with - called s 4 s

oadly (Žarkov post .1 and .1 white white uting uting - ’s

CEU eTD Collection arti by performed be may it although management, cultural a The Obrist Ulrich Hans 6) 2012, (O’Neill been has role their where discourses curatorial contemporary directors. program or artistic as work same the perform not do curators and festivals, to practices how discussing to turn I Here, the only not is It 2.3.1 in 2.3.3. Subsection 2.3.1; queering approach ofvisuality,and curatorial throughqueer understanding it co “ Papandopoulos, Stephenson and Tsianos stayInstecoherent wary ofmaking politicalclaims. of political Such activism. vis dilemma as well a as in manner representation remains that skeptic openly approach, politicized other of resistance typicalstate oftraditional imperceptible politics

untercultural seeability strategies participant Queering VisualityPractices and Curating of rtistic director, on the other hand, is is hand, other the on director, rtistic

f ueig rs n visuality. and arts queering of art art

theoreticians who have tried to grasp the specificity of queer of specificity the grasp to tried have who theoreticians ists and curators and ists conceptualizing queer inS art , they conceptualize and organize exhibitions. Curating, in the words of of words the in Curating, exhibitions. organize and conceptualize they , (2011) ”

(ibid.13 . InI analyze section, this thesecondI identified strategy have , “continues to be, for the large part, a story of objects” of story a part, large the for be, to “continues , ual strategies creating representation workand on art but (queer) – 15)

activist orartistic activist as well, con well, as , and what - based or altern based or of curating and organizing and curating of (2008) nesod o be to understood o e ue crtn de nt qa organizing equal not does curating sure, be To 62 tributing to the to tributing ubsection 2.3.2; Rosemary

conceptualized as ad they seem be for to looking images engage inqueering theidentity

ative cul Hennessy t a wl. A well. as sts

tural politics. current a professional role in arts and and arts in role professional a

an d analyzing images queer al of the “instrumentality”al ofthe escape through en as seen

the Zagreb F Zagreb the (1994) discourses of quee of discourses

theorizes as “ n Incontrast this to

strategies in curator

artistic director director artistic ness in ness estival

what ( - Ibid. as E

- art but but art ven in in ven – artist” relate

r art r :49) the

. .

CEU eTD Collection visuality thechronotopes ofwithin regional arts festivals. queer strategies curatorial and organizing as practices art particular toward communities festival the orientating of work the in involved be to curators, ( direction” such of shape very the acquire bodies then time, over repeated are turns such If “ overlook: orientation. events and objects same ( o director artistic being of significance of sense of a festival week. take curator a as far so In art. connect to want I because team. his and director artistic director. Festival results” great fiscal show to “wants who director executive an to contrast in art” great create to “wants Ibid. Ibid. “unn” te c o bcmn oinae, that orientated, becoming of act the “turning”, f works works

a festival’s artistic director to be performing a similar task within within task similar a performing be to director artistic festival’s a ) :15) I . While curator “curates” art, an artistic director “di director artistic an art, “curates” curator While C In

(Kaiser 2008, 86) team, with a focus on focus team, a with n . T h coc o te rga, ats n tre and tastes program, the of choice the

For her, we can speak about speak can we her, For e nltcl ou i o te raiainl n pormig taeis f the of strategies programming and organizational the on is focus analytical he and events, events, and Depending on which way one turns, different worlds might even come into view. into come even might worlds different turns, one way which on Depending my atr 4 n 5 and 4 hapters Individual or collective orientation influences what we see but also what we we what also but see we what influences orientation collective or Individual

can be seen as “orientating as seen be can research, I take the artistic director, the organizing team, and occasional occasional and team, organizing the director, artistic the take I research,

orientated in the world towar world the in orientated hl trig them turning while . organizes

while they also become a group through this this through group a become also they while the strategies of organizing of strategies the I examine I , Yet the

I continue to draw on draw to continue I selection

concepts and objects in objects and concepts collective the ” the festival. Ah festival. the ” process performed by the Festival artistic/program performed by the process

away from others. I will will I others. from away 63 raiainl strateg organizational . In particular, I explore I particular, In .

direction d particular objects and events. and objects particular d nds

is essential for becoming a subject subject a becoming for essential is with the discussion of regional queer regional of discussion the with the . rects” the arts at the festival in the in festival the at arts the rects” Sara Ahmed Ahmed Sara

med brings to our attention our to brings med when, as a group, people group, a as when, theoretical the

time e o the of ies - space of an exhibition, I exhibition, an of space

debates about curating about debates

the strategies of queering queering of strategies see (2006)

larger chronotope larger act of of act hs orie these Queer Zagreb Zagreb Queer

nlzs the analyzes

collective festival’s festival’s

face ntating ntating the

the the act act CEU eTD Collection other” make to life everyday persons individual by used commonly mode tactical a is there power, place orinstitution” ‘proper’ own its of stronghold the within from them sustains that power the with connection B society. clearly and “proper” their occupy who “subjects” individual by used institut an with connectone that operating” “waysof Strategies tactics.are and strategies practices:these pro sociocultural of techniques own (their) and interests own (their) to it adapt to order in economy cultural dominant the within and of order” economic dominant “a by “consumers” passive of role the to relegated being resist creatively e esthetic priorities, political life. everyday of own demands the or their preferences negotiate participants or organizers individual s however, Then, debate. ongoing an in theyreact counter strategically pressures express externalaclear to political political or stance when or way certain a in festival the representing for plan organizational clear a pose they my practices Visual post strate between eya mds f behavior of modes veryday - Yugoslav festival communities, and in particular at practices of festival organizers. organizers. festival of practices at particular in and communities, festival Yugoslav – ( sd fo te taei md th mode strategic the from Aside differentiate to important is it queering, of strategies mentioned have I Although Ibid.

to “the weak” who who weak” “the to ionalized framework and a panoptical or “synoptic” view from above. Strategies are are Strategies above. from view “synoptic” or panoptical a andframework ionalized ut de Certeau sees this appearance of objective rational position as “con as position rational objective of appearance this sees Certeau de ut :xi . Tactics are fragmented, have no “proper” place of their own but “belong to the to “belong but own their of place “proper” no have fragmented, are Tactics . ue” ad hog them through and rules”, gies and tactics in order to look to order in tactics and gies – xiii) ( . He defines practices as “ as practices defines He . participants Ibid. :xx) continually negotiate or “manipulate events in order to turn them them turn to order in events “manipulate or negotiate continually

. ht niiul epo i odr o ae es o life of sense make to order in employ individuals that

duction”

are engaged in are at times emphati times at are in engaged are (

Ibid. the the trategic trajectories turn easily into tactics when when tactics into easily turn trajectories trategic at is connected with institutions as producers of of producers as institutions with connected is at 64 :ix) users

innumerable and infinitesimal transformations infinitesimal and innumerable For For

at the practices of different actors in various in actors different of practices the at . He

Michel “reappropriate the space organized by by organized space the “reappropriate

distinguishes de Certeau

two models of employing of models two cally strategic as when when as strategic cally individuated place in in place individuated (2011) patcs ar practices , cealing (…) cealing es of sense ,

and and e

CEU eTD Collection “exhibition dominant fr more even an be to proved that author as curator the on focus a to leading and '60 the during apart falling Art, Modern of triumph and history the of narrative grand the “representing include argues, she dominant similarly flex organizers festivals ridden” conflict nor sharp “neither is that “division” ( the while destabilized’, and challenged he As experiences. attendance organiza different in result Gamson text, festivals anotherfilm gay and lesbian York New two by dilemma this on In takes different how analyses today. politics queer and theory queer both of core the which Gamson fol the logic” own the a speech “pedestrian become that movement of tactics inventing consumer a as street city a along walking pedestrian ordinary of gaze voyeuristic the ‘opportunities’” into Ibid. low different desire paths as low different desire paths “ “ wandering lines wandering eie lines desire :4) The curatorial strategies of the mainstream art world world art mainstream the of strategies curatorial The strategies and tactics community festival queer The . I .

curatorial strategies curatorial t is important, however, to heed to his warn his to heed to however, important, is t ( Ibid. ible. (1995) ” :xviii)

ht ra u te adcp o htrnraiiy hn niiul queers individual when heteronormativity of landscape the up break that uitful instrument of legitimating in the ‘70s and the '80s” the and ‘70s the in legitimating of instrument uitful ’

” ( - Ibid. making” strategies, Gevers opposes the strategies that subvert or “divert “divert or subvert that strategies the opposes making”Gevers strategies,

s o a ag o stra of range a of use articulated as deconstructive question as articulated (Deligny’s concept) (Deligny’s . These . a

city planner as standing in for strategies that plan the City, and an an and City, the plan that strategies for in standing as planner city :ix inl practices; tional – xx) -

explained theorized byAhmed Sara

wandering lines wandering have . In . cts”

expe “Walking in the Cit the in “Walking ( Ibid. , the , New F New rienced their own changes as well. These changes, These well. as changes own their rienced – :91

Experimental Festival Experimental 65 different approaches to visuality, and festival festival and visuality, to approaches different “’indirect’ or ‘erra or “’indirect’ eis ie a dsaiiig nor destabilizing at aimed tegies estival –

of individual tactics can clearly be related to to related be clearly can tactics individual of 97) . De Certeau likens these daily tactics to to tactics daily these likens Certeau De .

ing that these differences constitute the constitute differences these that ing “wants to see it affirmed and unified” unified” and affirmed it see to “wants (2006, 19) y”, de Certeau uses the metaphor of of metaphor the uses Certeau de y”, ( Ibid. ing of claims of belonging claims of of ing -

eoit t negotiate what :4) nt’ trajectories obeying their obeying trajectories nt’ I e te post the see I . .

Ine “wants to see the identity the see to “wants

Gevers Gevers he “queer dilemma” dilemma” “queer he ( Ibid. (1998, 1) (1998, aiiy as mativity ) - . Yugoslav Yugoslav

To these To , (1996) still at at still

calls calls

CEU eTD Collection twenty the in relevance this whether ask to possible is it Although art. queer of understanding on studies cultural in debates event the for negotiate and festivals queer regional other from festival their distinguish suggest and high between art, popular relationship the on debates the in engage festival arts queer Yugoslav alliance Festival Zagreb o is F Zagreb world. art the queering in engage strategies organizers’ festival the how concerns question The visuality. queering of strategies in interested mostly as organizing festival art queer through emerging is what to relate respectively, material, visual and programs manifestos, festival the in articulated more theprocess the contexts, but here, interest of are author and object the much so Not observers. and artists of roles and avant ‘90s. the in generation third the in and ‘70s avant second the of practices art subversive the in as well as century, avant the in finds she the (…) n understanding the strategies of queering the arts as well as well as arts the queering of strategies the understanding n - garde art have been reinvented in order to attend to the “ the to attend to order in reinvented been have art garde It is perhaps surprising that I propose that the the that propose I that surprising perhaps is It 6 and 5 4, Chapters In

that the Festival organizers use the strategy of programming high art as queer art to art queer as art high programming of strategy the use organizers Festival the that ma often estival

king. king. as I will analyze in Chapters 4 and 5 and 4 Chapters in analyze will I as - in the international arts festiv arts international the in not

. organizers use when use organizers

I - reflected rules of the game” the of rules reflected analyze - - first first ad crtra ad ritc taeis t h bgnig f h 20 the of beginning the at strategies artistic and curatorial garde

the century, some authors, authors, century,some

es and the observer” es observer” and the differences between high and popular culture for contemporary contemporary for culture popular and high between differences , I will examine whether the festival organizers’ strategies as strategies organizers’ festival the whether examine will I , organizers strategies of self of strategies organizers

transforming the festival manifesto festival the transforming al circuit. Here I discuss some implications of th of implications some discuss I Here circuit. al As Gevers observes the postmodern strategies of of strategies postmodern the observes Gevers As 66 ( Ibid.

in regards to regards in ( Ibid. such as Herbert GansHerbert as such ) . These alternative, subversive strategies strategies subversive alternative, These . :9) . - organizational strategies of of strategies organizational

representation, programming representation, I

taeis f ueig r. am I art. queering of strategies xlr what explore Queer Zagreb Zagreb Queer shifting of positions, identities positions, of shifting of of space through the the through space - garde generation in the in generation garde

distinction each year each (2008)

a prestigious status status prestigious a

strategies Festival ,

consider . M .

is of any of is . There I There . y Queer Queer Queer focus focus , post

and and the t e - h

CEU eTD Collection exclusionary effect. “ Festival Zagreb practice definitional qu of strategies organizational analyzing for useful art “low” and high designating of practice ta exclusivity itsaudiences” of difficulty very Its culture. high as status exclusive its ensures thus difficult Being difficult. be to has it culture, real be “to that says a culture” “ as culture mass or popular treat that approaches distinction the of relevance “weakened” is culture popular by“middle amateur publics with “ a of suppliers and users creators, between wo culture’s a of judgements value from terms these detaching by remediates he which stereotypes”, or hierarchy” distinction accommodate texts and practices which fail to meet the required standards to qualify as high high asqualify to standards required the meet to fail which practicesand texts accommodate culture high quality ste as a marker of class distinction, I find I distinction, class of marker a as ste set of arbitrary but conventional value judgments value conventional but arbitrary of set eer festivals. Surprisingly festivals. eer lhuh utrl hoit are ht oaas h dsicin ewe hg and high between distinction the nowadays that agree theorists cultural Although ” (

Ibid. n h arts the in

( tl iprat eas i “elcs n expresses” and “reflects it because important still Ibid. rth, ” :5) , while its tastes are shaped primarily by cultural professionals, and audienced and professionals, cultural by primarily shaped are tastes its while , Tog poutv o hbi ad uvrie osblte, h rlac on reliance the possibilities, subversive and hybrid of productive Though .

:vii) . This . n b analyzing by and

is still still is . In his sociological reading, high and popular cultures are “ideal types, “ideal are cultures popular and high reading, sociological his In .

ant u la to lead but cannot superseded at work in the strategies of queering art and visuality of the of visuality and art queering of strategies the in work at , as I will discuss in an in discuss will I as , (

Ibid. (J. R. Hall, Grindstaff, and Lo 2010, 369) 2010, Lo and Grindstaff, Hall, R. (J. tl remain still -

and lower )

. While Storey is referring to Bourdieu’s is referring to Storey . While but still influential still but atclr tse cultures” “taste particular literally excludes; an exclusion which guarantees the the guarantees which exclusion an excludes; literally

the taste culture. H culture. taste s - Jh Storey John . middlebrow” tastes Storey’s 67 eufcn o te usin o is lts and elitist its of questions the of resurfacing

an an . So, in So, . inferior or inferior alytical chapters, the productivity of this this of productivity the chapters, alytical

focus on exclusivity of the definitional definitional the of exclusivity on focus valorisation e sees upper classes still supporting still classes upper sees e Storey’s (2006) residual ( ( Ibid. Ibid.

an , among others, critiques critiques others, among , of high c high of

view, the tacit agreement agreement tacit the view, :7) :5)

cul “socioeconomic actual category , the , . . Gans distinguishes distinguishes Gans

(1984) ulture is based on based is ulture

debate

–

allowing to to allowing

analysis of analysis of

about the about Queer CEU eTD Collection curating, dominant as perceived is what of practices traditional question to seek strategies festival inqueeringand week, engage Festival Zagreb Queer overturn heels, over head world social the setting by liberate which laughter hearty and speaking plain the music (Bourdieu festivities” “collective in realization audiences the to brings it pleasure the communicate” to refusal to visuality. opens form, festival T important an remains there analogy, indicative though simplistic necessarily le to is politics and theory position and culture, low and high so, “ of field the to belonging its and taste” “pure Bourdieu’s be to art of works selecting to approach relevance no has consumption popular of tendencies democratic the and aspiration o elitism of juxtaposition Bourdieu’s cultures, popular and high of valorization he format format he

the pure“ tastefind we it is possible is it - hall, light mus light hall, n this In Extending and divide the complicate to since theory cultural in said been has much Although I m rsac, t nbe m t ak whether ask to me enables it research, my In .

in which this elitist art is framed, namely the popular and poten and popular the namely framed, is art elitist this which in

ing conventions and proprieties” and conventions ing s

cin I ection,

then Bourdieu’s these these ic, to

use blockbuster movies) blockbuster , a sort of censorshipaa expressive distancin sortofcontent… ofthe link and art works and festivals and works art ba ad a iett politics. identity gay and sbian

rud ht while that argued strategies that bring high and popular arts in contact during the during contact in arts popular and high bring that strategies

distinction in popular taste, the drive is toward the will to participate and participate to will the toward is drive the taste, popular in asns“ue iem”t ti cascl divisio classical this to dilemma” “queer Gamson’s “queer art” “queer both, as discussed inChapters5 4andboth, asdiscussed ( Ibid.

betwee

rsne a the at presented :34) – 68

they “ they in relation in

n the two opposed two the n

rngesv curatorial transgressive . The “popular ‘aesthetic’” finds its ultimate ultimate its finds ‘aesthetic’” “popular The . (

Ibid. analyzes up for what I see as strategies of queering queering of strategies as see I what for up satisfy the taste for and sense of revelry, revelry, of sense and for taste the satisfy ) .

I to lesbian and gay culture as queer as culture gay and lesbian to propose

legitimate” cultural production. cultural legitimate”

ue Zge Festival Zagreb Queer However oua gne sc a popular as such genres popular the elitist, artistically ambitious ambitious artistically elitist, the

forms of forms that the organizers of the the of organizers the that , even if we accept this this accept we if even , n organizational and .

ls is analytic its lost t

tastes, in relation in tastes, tially subversive subversive tially f the aesthete’s the f

qualification. n between n

g… and a eae to relates

CEU eTD Collection ever the through Nikki with engage to viewers different 2003) (Sullivan queerness located have other the on practice, artistic their and “truth” the audiences in queerness queerness de of trajectory complex and as bit every are the participants. sites festival the I 2 cultural capital. pr valuable on decisions his basing artist an himself as curator practices curatorial of arena the in avant from differs curating through visuality of queering they .3.2 want Queer Zagreb Festival Zagreb Queer

still still Queer Sulli

to The “label” of queer art queer of “label” The

enquire into how aesthetics and politics come together in queer visual art forms at at forms art visual queer in together come politics and aesthetics how into enquire (Benshoff and Griffin(Benshoffand 2004,2) retain in/of the arts the in/of

van arguevan of the lived the of Visualitying Indeed, in Indeed, characters or viewers, or characters

complex T . certain claiming - hnig eain bten et, r texts, between relations changing i de nt en ht tk “queer” take I that mean not does his s

therefore that queerness that therefore

Section 7 Section experiences ( experiences

in the reception/viewing practices shared by a variety of audiences audiences of variety a by shared practices reception/viewing the in has

lts peie wih r rfetd in reflected are which premises elitist as the ones we find in theory. in find we ones the as

and , it becomes clear that clear becomes it , ht queerness that

an impressive multiplicity of meanings of multiplicity impressive an bates on what makes art qu art makes what on bates

Art

has at times been used to describe the balan the describe to used been times at has .3 any cultural text cultural any

or reading it in relation to art producers, art forms, or the or forms, art producers, art to relation in it reading or devoted to my interlocutors’ perspective interlocutors’ my to devoted

hy a cm t sae h high the share to come may they sexuality and identities and sexuality (Meecham and Sheldon 2004, 240) 2004, Sheldon and (Meecham .

as a “mass culture reception practice” allows for for allows practice” reception culture “mass a as 69

is not a prope a not is

the participants’ the

and

find “queer moments” “queer find

aes n te world” the and eaders eer - It is important to a to important is It garde and other radical art curating, curating, art radical other and garde

rty of of rty (Waugh and Straayer 2007) Straayer and (Waugh ) at face value as defined by the the by defined as value face at

of the artists, on the one hand, hand, one the on artists, the of understanding a ofessional experience and and experience ofessional hi str their

text but is created “ created is but text –

rang - art perception of the the of perception art . C . ategies cing acts between acts cing ing from locating from ing cknowledge s

ultural theorist ultural o

in n queer art at at art queer n s

of queer art art queer of ( Altho . it Ibid.

( Ibid. in and and in :191)

long long The The ugh :2) s . . CEU eTD Collection political andthe social “gesture” the analyse to possible inter an as work art expression” of dynamicassites activities, as conceptualizingthem arts visual see that categorizations traditional the objects visual making meaning in endeavour collective as production art analyse and context, social and political art defining to stance critical signs.at exit suchfestivals aspotential performative) qu on focus special vis queer defining space. public in and institutions cultural inclusio of i arts to testify negotiations 3) 1998, (Banes complexity andhence ofthe process potentialofwork. theart to the transformative contr texts, the and artists the between cycle, art the of moment production to seen be also should relationship constitutive this that argue I However, n terms of terms n The ambiguities in defining queer art and visuality echo the the echo visuality and art queer defining in ambiguities The M (Becker 2003; Wells 2004) Wells 2003; (Becker y approach to visual arts arts visual to approach y . n h ohr hand, other the On n.

creating artistic artefacts artefactsartistic creating

art work art and events and

their of performance art, alternative and experimental arts experimental and alternative art, performance of ibility in arts as a matter of “performance of politics” of “performance of matter a as arts in ibility -

subjective process process subjective e fsia a a utrl carni cultural a as festival eer transfo

the the s (i.e. films, video installations, photographs installations, video films, (i.e. s (Meecham and(Meecham Sheldon 2004, 239)

that can be studied as art art as studied be can that troubled rmative potential to speak to speak to potential rmative . These .

ht s lo t tk i the is stake at also is what f iul xrsin s n emergent an as expression visual of . This angle therefore allows for broadening the scope of of scope the broadening for allows therefore angle This . relationship between politics and aesthetics of aesthetics and politics between relationship draw

(Sowers 1990, 2) 1990, (Sowers approaches locate artistic practice and theory in their their in theory and practice artistic locate approaches

and s

on the develop the on

h fcs n r i pbi spa public in art on focus The an activity, instead of on the “product” the on of instead activity, an 70

s atnmu, rhtpl entities” archetypal “autonomous, as (Nelson and Shiff 2003) Shiff and (Nelson aeqe om ad n h visual the on and form, valesque negotiations . Focusing on the act of creation of the of creation of act the on Focusing .

alternative . ments in visual studies that have a a have that studies visual in ments

iiiiy of visibility – , performances ,

“resistance to definition” to “resistance “ as “ as . On the one hand, one the On . imagined communities imagined

(Muñoz 1999) (Muñoz act b asic forms of visual of formsasic

be at work at the at work at be ; and reformulate and ; uvrie art subversive embedded in the the in embedded ce

btn t the to ibuting nae with engages ) circulated )

subversive , ma , , with a a with ,

kes it it kes these

(and into into in ” -

CEU eTD Collection alternative/avant on around the under emic identity of visual in tendencies concern words, other q of spaces the in circulated queerness, thematizes in queers of visibility social between for interest of is What it. orientations collective the meaning and politics cultural of reveal they what for examined carefully be simi the of field toward listening queer does. towhat art art of thinking interlocutors, art queer of understandings emic the with encounter the in way, similar a In pr which “that as art see to him allows paradigm machinic happen. makes and moves it things the and does art work the about but is, art what art, of meaning the about not thinki ask to O’Sullivan allows machine and Deleuzian a as art about art Enquiring to paradigm machinic Deleuzeguattarian of application his art with problem definitional “the of The discussions of the relations relations the of discussions The From the vantage point of the sociolog the of point vantage the From O’Sullivan Simon what of aware Furthermore, art larly ambiguous labels such as radical, alternative, subversive, and queer and subversive, alternative, radical, as such labels ambiguous larly -

Queer Zagreb Festival Queer Zagreb formations of queer collectives. queer of formations standings of queer art through my interlocutors’ voices interlocutors’ my through art queer of standings is profoundly implicated with the domain of politics (Inglis 2005: 12). This is why why is This 12). 2005: (Inglis politics of domain the with implicated profoundly is y participate in. In this way, way, this In in. participate y - and performance and garde/political art a art garde/political s

and ident and the subtle subtle the my - machines allows a p a allows machines

ity formations within communities within formations ity proje .

links

” t s h cmlx in complex the is ct ar

which

ts and the negotiations of the seeable the of negotiations the and ts s opposed to institutionalized high/apolitical art, have have art, high/apolitical institutionalized to opposed s between that can be found between the the between found be can that post Thi

- uvrie art subversive 71 “ uolv countries Yugoslav y of art, “ art, of y modernism” haunts s is why in Chapter 7 Chapter in why is s

politics and aesthetics, that is the reflections the is that aesthetics, and politics rpcia sit eod eiiinl focus definitional beyond shift erspectival ueer art festivals. art ueer

(2008) t he label ‘art’ is never neutral” never is ‘art’ label he terrelation oduces an aesthetic effect” aesthetic an oduces

a b aaye i rlto to relation in analyzed be can

rightly warns of as the dan the as of warns rightly

that are orientated towards towards orientated are that ( n atsi vsaiy that visuality artistic and Ibid. who talk who

, I engage I , My that can be established established be can that the the :23)

uvrie r queer or subversive research interest research soc , I’m attracted to attracted I’m , expressed

in the processes processes the in ial struggle for for struggle ial about queer art art queer about ng about art. art. about ng in analysis of analysis in

art, need to to need art,

( by my my by Ibid. – gers gers The The

, in in , the ) .

CEU eTD Collection performance performan Festival Film Lesbian and festivals art queer Yugoslav and Gay Media Festival Arts Toppings Michael to According cond the is that and resistance, Bollywood, queering in engaged filmmaker t art queer of reception direction” as visuality artistic/cultural of products and Ahmed’s Sara on drawing argue, q and feminist 2009) Cartwright and Sturken communities various of ideologies cultural of aspects salient as theorized sp p and/or autonomy of relations on discussions broader connect to is aim My artists. and theorists queer and feminist of interest of focus the in been ecific h wd setu o visual of spectrum wide The conditions the of specificity the is it that claim artists queer Some omnt; o tee xss ne t calne ht s ie, o eeie and redefine to fixed, is ( what re challenge to and need reclaim, a exists there how community; of records journey, the is created ad work The being. eventually of and becoming, of i n all its spectacular forms is founded largely upon change, upon the acts of changing, of acts the upon change, upon largely founded is forms spectacular its all n Ibid. taeis f ueig rs n visuality and arts queering of strategies vancement, reflecting the significance of transformation within the queer queer the within transformation of significance the reflecting vancement, , prod ce and body art, art, body and ce

:1) arts ueer visual practices visual ueer

ucing a belongingacollectivity ucing toashared , for instance - a acut o is aec a “truly” as valence its for account hat net eades f ht oe em pnei assimilation pandemic a deem some what of regardless invent

at n Ljubljana in ranges from an exclusive focus on films, as is the case at the at case the is as films, on focus exclusive an from ranges

in Regina, Canada, art queer , the

, while in recent years recent in while , at to under ition

(2008) Rdeč Queer Zagreb Festival, Zagreb Queer (2006) (Jones 2003; Hanson 1999; Kaplan 1997) Kaplan 1999; Hanson 2003; (Jones e Zore and performance performance and , t “high” to , an an

suggestion, that it it that suggestion, artist and curat and artist made” are films queer many which claims and 72

Queer Belgrade . hpn fsia priiat’ “collective participants’ festival shaping

Artistic practices of visuality have been been have visuality of practices Artistic “ ue art queer intense Art has always thrived under threat and threat under thrived always has Art olitical engagement of art and “life” and art of engagement olitical . r frs n h porm of program the on forms art

with the combination o combination the with

or of or

is possible to consider practices practices consider to possible is theoretical interest arose around around arose interest theoretical -

ue at A Onir As art. queer mostly contemporary dance, dance, contemporary mostly

Q festiva ueer City Cinema Lesbian Lesbian Cinema City ueer ls. ls. The field ofvisual of production and production of

Mrof 1999; (Mirzoeff . I would like to to like would I .

f visual an visual f ( Ibid. (2008) :130) post Gay Gay , a a ,

to d - . .

CEU eTD Collection ( the as highlight theorists is art vi of strategies comparethe to possible is it codes, cultural shared intelligibilityof the disturbing appr thin of ways tradi s in power avant (i.e. art revolutionary andof sexualities subjectiviti “ that out perc been avant why of understanding our inform to order in politics and aesthetics between relations the and arts in autonomy the on debates 2004) Zimmerman and (Aufderheide film feminist and movement women’s between connections activism” as “art of possibilities the studies visual in authors 1998) Tyler 2004; Mulvey 2004; Kuhn 2004; Kaplan 2003; (Jones politics and aesthetics between relationship the concerns criticism film feminist of premises forces” aesthetic bee has studies either sibility with politics ofqueerand art ahs ht hleg atsi “competence” artistic challenge that oaches tional/official/mainstream art “comforts” the spectator as it “ it as spectator the “comforts” art tional/official/mainstream o ae no account into take to

Another way in which it is possible to possible is it which in way Another between opposition historical a underscore to tend art political on debates The redemptive or disruptive) potentials of art, and an interest in art’s effects on its its on effects art’s in interest an and art, of potentials disruptive) or redemptive films have a direct impact on or are directly impacted by a hierarch a by impacted directly are or on impact direct a have films eived a eived ig n afr acpe wisdom” accepted affirm and king cey hog “positive” through ociety poonl itrse i te “ the in interested profoundly n s “ s

Nlo ad hf 20, 453) 2003, Shiff and (Nelson both site of resis of site both

fundamental qualities of any “good art” “good any of qualities fundamental are primarily are - its garde) and art that supports revolution supports that art and garde) es”

ssacs o eiiin It definition. to esistances ( Ibid. tance and failure of resistance” of failure and tance . Doane .

:1233) those of the

Brd 2006) (Barndt concerned with analyzing the projects and t and projects the analyzing with concerned - garde and other oppositional artistic practices have have practices artistic oppositional other and garde .

(2004) conceptualize the subversive politics of queer queer of politics subversive the conceptualize

representation vr hnig nepa betw interplay changing ever

te avant the , f h viewer the of Smlry oe f h ms productive most the of one Similarly, . avant

, while other other while , suggests returning to the history of the the of history the to returning suggests - garde art

a b se t sae what share to seen be can - - making and feminist audiences feminist and making garde/experimental art creates creates art garde/experimental

: the belief in transformative in belief the : ( habitual reinforce to appears Aosn 2000) (Aronson

Ibid. and curating theorists –

(

Sm of Some . Ibid. the new distribution of distribution new the :8 – 9) :1233) I ti sne of sense this In .

ical organization ical ahr rc the trace rather . een social and and social een

h feminist the . She points She . While . heorizing

some some CEU eTD Collection voic a ‘give and voice’ a ‘find and discusses authorship both of situatedness about consciousness the m to continue whom representing is who and structuralist theories of gay feti of form artistic reevaluates minority of rights the for engagement political for need have critics lesbian “work” the about useful 111) 2009, th interpret to work the use can one But work. the interpret in the or identity new and re potentially a of materialization a into it transforming body, member’s audience the throughout waves shar Sontag Walker Julia viewers. man authored these photographs these authored man In art that deals with “ with deals that art In the margins be si is in To positioned subject the since representation. speak, to which from of place no have to systems is marginalized dominant in underrepresented or misrepresented disempowered enunciatio is who and empowered is communicate to share enunciation of question The C mlx osdrtos f ht ue art queer what of considerations omplex

h usino uhrhpa “ as authorship of question the Sil Sna’ ctgrcl nitne ht “life” that insistence categorical Sontag’s Still, . ed with Artaud the belief that “ that belief the Artaud with ed his earlier essay on Mapplethorpe’s black male nudes as simply performing the the performing simply as nudes male black Mapplethorpe’s on essay earlier his ta crusrbs h mriaie pstos f ujcs historically subjects of positions marginalized the circumscribes that n etos f t cetr. A creators. its of tentions shisation of black skin, and claims that it actually matters very much that a that much very matters actually it that claims and skin, black of shisation attended volutionary consciousness”volutionary

the deaththe of lenced invisible and (2009)

a esmwa modified. somewhat be can

to the problematic of authorship, i authorship, of problematic the to - th

n her in implies a whole range of important political issues about who about issues political important of range whole a implies e representation of difference” of representation e e’

o uodnt eprecs iette and identities experiences, subordinate to authorship to . I . -

n sa on essay h i sekn, h i soe t, ht cod what to, spoken is who speaking, is who Skin Head Sex Thing Sex Head Skin a question about agenc about question a .

good art always touches a nerve, sending shock shock sending nerve, a touches always art good ( s Susan Susan s Ibid. 74 atter. Mercer makes clear the stakes in keeping keeping in stakes the clear makes Mercer atter.

ua Sna’ wr i theater in work Sontag’s Susan

suggest ( :245)

Ibid. in the representation of difference. It is is It difference. of representation the in is

Sontag ant n n wy e ind on to down pinned be way any in cannot Many

:132)

that groups

e life” e . , Mercer moves away from post from away moves Mercer , feminist, post feminist,

u i: Oe ant s lf to life use cannot “One it: put

ant ep us help cannot , the issues of who is speaking is who of issues the , . So . n the light of the continuing the of light the n y in the cultural struggle to struggle cultural the in y

viewing (Susan Sontag in: Sontag (Susan , Kobena Mercer Kobena ,

- colonial eta we he when central say something something say subjectivities”

lis that claims ,

gay and and gay

es Walker (2003) they -

CEU eTD Collection Festival wh andchapters 6 (4,5, exhib artistic it showcasing representations the to tame commitment inadvertently not its does whether transgressions question uneasy an in consists form, seeability non regi representation” ar “ intersectional their how show to order in artists lesbian of politics diversity” democratic a imagine to possible it making by representation c of practices to and according is, artistic politics reductive cultural such to alternative The to. belong they group the of representative impov Mercer what of limitations the with engaging queering analyze to important remains it art, queer discussing in Still, centrality. social some gained finally have positions marginalized those when moment very e of position a connecting ground solid the away ( Ibid. lrlz a pluralize c ognztoa ad ritc “translation artistic and organizational ich - onally queer art queer onally omtv sxaiis n gne epeso i post in expression gender and sexualities normative :245) erishing The problem raised byraised problem The of Creation

generate in alliances, and meanings, limitations the

– . At times it seems that seems it times At . (

Ibid. renegotiatedvisibility onterms queercommunities. oflocal albe repre vailable

artistic voice.artistic

requirement neprr bak rit ta “ that artists black ontemporary by creating by :260

queer representations, I argue, constitute one of possible strategies for for strategies possible of one constitute argue, I representations, queer ) I explore the Iexplore ) and visuality and – 261) sentations in the public sphere”, and circumvent the “burden of of “burden the circumvent and sphere”, public the in sentations

. Mercer focuses particularly on the art work of black gay and and gay black of work art the on particularly focuses Mercer .

on their own their on placed on artists from the margins that frames their work as as work their frames that margins the from artists on placed organizing

ecr fud n h cmlx “dialogic” complex, the in found Mercer, do the similar work of reinventing the terms of visibility of visibility of terms the reinventing of work similar the do the “ the dynamics tran of queer dilemma queer festival as a form a as festival terms 75 s ” (2003)

(2003, 261) (2003, nunciation with what ha what with nunciation f ue wti the within queer of sgression and/or queering sgression and/or inter

” calls “burden of representation” of “burden calls thei in queer in r upt this restricted economy of of economy restricted this upt , and particularly and , - r uolv otx a Hennessy’s as context Yugoslav

. concrete context. concrete context.

I ask about the ways in which which in ways the about ask I itc oiinn ad choices and positioning tistic the theory, art and politics and art theory, reaso otx o te Zagreb the of context

s been voiced at the at voiced been s s n “an” for “gains” and ns its

the queer festival festival queer the

, and the ways in ways and the , I anal In . represe ifrne and difference

ntational ntational

ytical – takes

the the

CEU eTD Collection Festival’s the from arts (high) queering of strategy of complexity The art. outsider and high the between gap alleged the of sides both on legitimization seek that strategies organizational O un t and artistic status outsider avant approac and forms art different many ( rediscoveryof for art folk in interest collectors’ art to introduction the disenfranchised of view t te usdr tts f h artist the of status outsider the o Ibid. utsider art is etns f r wrds eaie pnes o Art to openness relative world’s art of dertones r brut Art - :xiii) garde arts Indeed, I will show will I Indeed, and conformity lifeless the on authority“high culture” of attack an as well as dispossessed the championingof a protest, of strongrhetoric the is disenfranchised the of transformation mythic this underlying Often individualism. re to nonconformity, the t it find I Although t hand, other the On the . ot xrm eape f h Rmni tnec t cnlt sca ad artistic and social conflate to tendency Romantic the of example extreme most According to Hall and Metcalf, the term the Metcalf, and Hall to According he social he artist as a social outsider was given a new a given was outsider social a as artist

rae b mna ayu ptet ad mtu “visionaries” amateur and patients asylum mental by created , it is important to heed to important is it ,

Art brut ’ people was taken into account. into taken was people

position outside of outside thecanonasposition well their volume on volume their . So, in the same volume, Joanne Cubbs Cubbs Joanne volume, same the in So, .

by the

empting to empting in Chapters 4 and 5 and 4 Chapters in he radical potential of art is sometimes understood in connection in understood sometimes is art of potential radical he British criticCardinal Roger whor - noe oil agnlt a a ilu at f c of act willful a as marginality social encode ,

. through

( in relation to social norms and traditions. The Romantic Romantic The traditions. and norms social to relation in Ibid. O hes “apart from mains from “apart hes ut some critics’ some attend to attend sider art sider :85) the

76 French artist Jean Dubuffet’s 1950s enthusiasm 1950s Dubuffet’s Jean artist French , the ,

the

Michael Hall and Eugene M Eugene and Hall Michael delineate its history starting from from starting history its delineate

Queer Zagreb Festival Zagreb Queer warning debates o debates rt n Otie at Se argue She art. Outsider and brut ( “ Ibid. outsider art outsider

dimension when the art by socially socially by art the when dimension otherwise ) tream traditions”, and traditions”, tream . against an against

n queer art in connection in art queer n (1994) eformulated it as it eformulated ”

culturally and artistically artistically and culturally continues to be used for used be to continues

reveals the Romanticist Romanticist the reveals

easy conflation of the the of conflation easy

makes recourse to to recourse makes repress etcalf ,

o th to outsider art to describe to ive the (1994) e 1970s 1970s e

reative reative

1920s 1920s moral moral that s to its its to

CEU eTD Collection and interrelatedness representation ofvisual performance enable dis/identification of processes about asking encourages performing and normativity pol questioning for spaces alternative as festivals arts queer of identity” performative unstable an be to shown or up, camped critiqued, threatened, is heterosexuality normative wherein queerness of understanding ( “ as performance” “ formulates of performances their and potential. political and transformative its is “fleeting moments” performance in danger imply would that visibility overt performances” and moments (or Esteban Munoz world. art the in heteronormativity of codes cultural the challenging in danger of sense necessarily subversive. position outside/inside Ibid.

tc n counter in itics performance :XIV) The anti The Moreover, it has been been has Moreover, it h d The .

a arts; sdniiaoy oeta o qer rs n pltc big u brings politics and arts queer of potential isidentificatory

- art makes it possible it makes art ) art to the to art ) (1996) institutional an institutional ue performance queer - dynami hegemonic ways. Such co Such ways. hegemonic

of queerness tha eomlto o te ol thro world the of reformulation

relates the

serves as a check a as serves

s f osrcig lentv seblt truh ritc practices; artistic through seeability alternative constructing of cs disidentification way in which queer which in way

that is based on imagi on based is that

claimed that the defining characteristic of queer performance art performance queer of characteristic definingthe that claimed ht ec the reach that

d subversive charge of some of queer art queer of some of charge subversive d (Benshoff and Griffin 2004, 2) 2004, Griffin and (Benshoff

paradoxical aspectofqueer paradoxical t -

tde lens” studies escape to understand to (

Ibid. on a on

with hetero with In his study of queer performance artists of co of artists performance queer of study his In s withthe heteronormativity ir 77 nceptualizing of queer queer of nceptualizing :6) ness ( tendency to tendency

intended . Munoz’s Munoz’s . ning “ ning

often works often q ht hoie th theorizes that ueer art ueer creation -

and white and g te efrac o politics” of performance the ugh the textual (and extra (and textual the )

uine bt not but audiences

conceptualizing as margins the from art perceive ness in general in

. This . . of queer collectives. d through queering visual queering through d

as “ as

made visible through visual visible made normativity, Munoz Munoz normativity, innuendo, gossip, fl gossip, innuendo, view arts and queer festivals festivals queer and arts “oiia force “political e

as consisting of such such of consisting as may be related to the to related be may

enables

of the ephemeral the of always - s textual) spaces textual) ak o the to back exploration exploration

through through (1999) eeting

Jose lour lour

and of of

CEU eTD Collection 29) 2007, 29) 2007, moment” “manipulative a potentially is moment” “aesthetic the experiencedempower as interest main My innovative. artistically to stereotypical from culture, popular to high from ranging represent visual sexuality, on discourse LGBT within time competing one any at present visibility of materializations to choose framework. broader its is struggle, liberation sexual global the with together this, although life, public in influence political and visibility for movement(s) LGBT Yugoslav practice. and theory art contemporary “queerrepresentations of “field”, the methodological communities image. subversive art queer in “queer” Defining 2 .3.3

Queering Visuality From the point of view of feminist theory, visual representa visual theory, feminist of view of point the From here , and produce and ,

ic i ntrlzs “ naturalizes it since see

ih eeoi rpeettos f ioiy eulte. ihn h broader the Within sexualities. minority of representations hegemonic with ’ is Chapt struggles to negotiate visibility negotiate to struggles

to omtett lann rm hoiaincmn ohfo aaei and academia from both coming theorization from learning to commitment h srgl fr visibilit for struggle the

ask what queering of images of queering what ask hs s This r 7 er s a “ a s

ing by its viewers. bying its ness ection follow and ge ”

. T ndered field of visual ple visual of field ndered Festival Images

s gendere

touches his

lo ocrs h qeto of question the concerns also h maig ta my that meanings the

s ection My research My tcnqe o objectification” of techniques d upon theoretical upon tos f non of ations a a tuge o vros nepeain and interpretations various for struggle a as y

t herefore discusses approaches herefore discusses 78

through queering through

does

is not devo not is

in this embattled domain that might be might that domain embattled this in - asure” omtv sxaiis s elements use sexualities normative

prahs o understanding to approaches nelctr atiue o visual to attribute interlocutors

under the mask of universally universally of mask the under ted to the history of the post the of history the to ted the

Lnrcha n Thornham in (Lentricchia ht ol cnttt a constitute would what images tion is a contested field: contested a is tion

(Lury in Thornham Thornham in (Lury to communities . As a part of my my of part a As .

queer queer images Rather, queer queer

and and

in in I -

CEU eTD Collection versa. vice and Festival, the film gayopens a then GayFilm”, year, each gayequality: and lesbian visualityof creating at directed are Festival Ljubljana ofthe visibilitypolitics the Furthermore, the nameFestival. in of the “lezbični”(lesbian) (gay) and “gejevski” the by strengthened films, it LGBT from stills poster as relyingattractiveon perceived be could by the developed visuality especiallythe 23 (Adusei racializatio and stereotyping racist 22 in viewingconsuming and culture popular pleasures the of embracing renewed toward move a with associated been has aesthetics garde view avant that limits the about misgivings expressed of elements of visuality the say, would practices. artistic artist an as engages also she which in out, way offerone fo options imaginable few leaving for criticized been has subject” “ art: of work a to openness Interpretation contribution st “ rationality: and knowledge” “conceptual produce not does art of terms understood is art of values artistic and aesthetic shared

t o trldm r captivation” or thralldom of ate To th To Not only when it comes to gender binarisms and heterosexist constructions, but also very much in the field of field the in much very also but constructions, heterosexist and binarisms gender to comes it when only Not

the Festival alternates the order “lesbian” and “gay” in the title. If the name reads “Festival of Lesbian and Lesbianand of “Festival reads name the If title. the “gay”in and “lesbian” order the alternates theFestival ing. T ing. e -

Poku 2010, 177) 2010, Poku While Laura Mulvey’s Laura While

practic

(Susan Sontag, Against Interpretation,LuebbersAgainst (Susan Sontag, p.22,in 2009,186) knowledge hi

s suspicion of the necessity the of suspicion s the to e of revaluing popular cul ofrevaluing e popular

n the necessity of the viewers “cooperation” viewers the of necessity the n iul r ciiim Lebr rmns s f otgs nitne in insistence Sontag’s of us reminds Luebbers criticism, art visual avant a in judgment commitment, of phenomenon a excitation, an like something oe mgs at images Some /awareness it brings about. So about. brings it /awareness in relation to relation in .

- garde art. However, both (feminist) film critics and audiences have have audiences and critics film (feminist) both However, art. garde Queer Zagreb F Zagreb Queer n, visual representation functions as one of the major discursive categories categories discursive major the of one as functions representation visual n, u at can art But (2009)

profou Festival of Gay and Lesbian Film Lesbian and Gay of Festival

ture (Thornham 2007) (Thornham ( queer Ibid.

belong some some belong theorizing of the the of theorizing nd effects it has on its viewers, b viewers, its on has it effects nd :181)

o sdc wtot complic without seduce not 23 for cultural politics to politics cultural for etvl i post in festivals . estival

79 I hr appreci her In .

but something beyond the real the beyond something but

of the of , tend to play with the aesthetics and visual and aesthetics the with play to tend , , Luebbers ,

- garde filmmaking poses to pleasure in in pleasure to poses filmmaking garde 22 . In the field of art criticism, the power the criticism, art of field the In . images at post at images – “ male gaze male

that of avantof that - escaping r uolv onre, s el s I as, well as countries, Yugoslav

and direct affective and sensu and affective direct and

(2009)

s confrontational impact is sconfrontational tv esy n ua Sontag’s Susan on essay ative in Ljubljana. While its poster images images its While poster inLjubljana.

follow a deliberately avant deliberately a follow - Yugoslav queer festivals festivals queer Yugoslav ”

stresses that th that stresses

as objectifying practice practice objectifying as t o te experiencing the of ity its - garde filmmaking and and filmmakinggarde

oth sensuous and in and sensuous oth iron grip, she does does she grip, iron .

m s of language of s e work of of work e Against -

ous - CEU eTD Collection production. cultural them” by produced but people gay viewer depending types those of meaning in differences overwhelming gayness” of representation for recognition” visual involving ma imper believed” be to “seen be to need functions. s o thepossibilities tends toexplore representation political and artistic queer of wave new the movements, social new various of politics cultural of strategies important most the among been has images empowering through t leave often are they fact, In images. empowering or positive be to have not do them, to according representations, “ by characterized are that gaze” “female a postulate the of continuation unfortunate an as (feminist) visualon studies gaze exuality as a social marker; social a as exuality king visible the invisible”, which serves as “ as serves which invisible”, the visible king ”

tv t b rcgial. This recognizable. be to ative . Importantly, the practice of pro of practice the Importantly, . (2006) e pcao/iwr questioning” spectator/viewer he h qeto aie o h of arises question The others, Among

Richard Dyer Richard . “ ambiguous, naig n t in Engaging

It is precisely the precisely is It Caroline Caroline (2002)

( Ibid. power relations, inlooking slippery, and in total do total in and slippery, representation , and according to Dyer, to according and , th e ogtnig eae ewe f between debate longstanding he

:80) discu capacit e vn and Evans

f w o rn tgte te nvsblt o non of in/visibility the together bring to ow

queering visuality. , and whose representation as typical assuages societal societal assuages typical as representation whose and , ( ( . T . Ibid. Ibid.

sses problematic practices of ty of practices problematic sses “ creative a creative hey prefer to prefer hey a typification gay ducing visual types is “ is types visual ducing :21) uh discussed much :19)

t dsub tbe definitions” stable disturb to y ( s Ibid.

Lorraine , both in the realm of spectatorship and in direct in and spectatorship of realm the in both , of such sexualities such of . 80 nd nd he particular, In :81

the basis of any representation of gay peop gay of representation any of basis the unstable representations unstable n’t add up to a coherent whole. coherent a to up add n’t – 82) use the notion of notion the use amn un o hoiig the theorizing to turn Gamman

seems to be taken as “ as taken be to seems they ” .

ucin a “ as functions

Wh ml gaze” “male

criticize the criticize ile the reclaiming of visibility visibility of reclaiming the ile , not

and their and on

emin just something wished on wished something just draws attention to the the to attention draws the social position of the of position social the pif “ queer representations queer

rpror o sign of repertoire a concept of ying gay people who who people gay ying ist film theory and and theory film ist a nd the attempts to to attempts the nd

social and political political and social that leave viewers leave that

a near necessit near a ( Ibid.

They often often They - queer gaze queer normative ) . Queer Queer . “ queer le le s, s, y ” s

CEU eTD Collection of queering thatEngel looking of relations c strategies the and life, to elements visual subversive potentially those bring that images these of strategies the of posters the at looking when lead Engel’s follow I relations. looking queers that scenario viewing possible a imagination with works Engel that images norms of repetition the to boundedness depressing somewhat peformativity’s yetthat Butler discussed itbrieflyambiguously Butler to Derrida through become discourses and effective” “representations how understand to order in her for important is emph and sphere, social in power their locate to images” of productivity “social term the uses Engel images”, sine a is her (2009) productivity performativityand of questions the to inextricablylinked found in uncertain

tests the terrain of theories of perform theories of terrain of tests the For is festivals queer of case the in social the of arena the in visibility for struggle The

the visuality ,

( rdcd rud n cmuiaig ih ue community queer with communicating and around produced Ibid. ne, ats i a promtv fre ta pt bc hp ad gny in agency and hope back puts that force” “performative a is fantasy Engel, - qua queering ) - . She follows the genealogy of the concept of performativity from J.L. from performativity conceptof the genealogyof the follows She . non ingredient of queer politics. Instead of discussing the clichéd “power of of “power clichéd the discussing of Instead politics. queer of ingredient non asize their use in cultural politics politics cultural in use their asize

of the of the

eil in legible

to diagnose to Queer Festival Zagreb -

ue aedr pin calendar queer Festival

ue Zge Festival Zagreb Queer a definite “lack of fantasy”, although she d she although fantasy”, of “lack definite a

posters alls for inqueer viewing. ativity, finding them lacking in fantasy which for fantasywhich in ativity,finding them lacking 81 –

as “culturalas fantasy” life of

n cran r works art certain and , discussed inChapter 6 ( Ibid. - ups, allow her to offer up to a reader’s a to up offer to her allow ups, :119)

. The concept of performativity of concept The . in Chapte

of images of

6 r wy o loig at looking of ways ; which .

o s aot the about ask to ( Ibid. ( Ibid. . Antke Engel Engel Antke . I , oes point out point oes :120 :121) argue

– Austin Austin 122) . The . , are are , .

CEU eTD Collection re its and ethnography. more an of role a in be to excited F Zagreb F Belgrade festival “living” either I research, me to Zagrebwell as the ones. queer as e i turns surprising several with expectations look to occasions with all, above and researc This thnography of of thnography sia o Gy n Lsin F Lesbian and Gay of estival 3 representative

METHODOLOGICALROAD , just as Iwasas just ,

ocre with concerned politics that the that However, just as I was about to start my fieldwork in the fall of 2010, it became it 2010, of fall the in fieldwork my start to about was I as just However,

event at lations to the regional queer regional the to lations

and could approach to make interviews with interviews make to approach could and

estival the that idea no had h itrae f encou of interface the h is a resul a is h

. This is how Ihow is This . I . had to mak to had This is why I had I why is This Queer Belgrade F Belgrade Queer Queer Zagreb F Zagreb Queer

o dcdd gis rlig n y rvos xeine wt the with experiences previous my on relying against decided I so of of and , ways in which they which in ways

writing the festival people whom I whom people festival the practices of practices

negotiating negotiating t of an of t

okd o another for looked

is eeomn. t h outset, the At development. its n e a difficult decision to limit my analysis here to the Zagreb festival festival Zagreb the to myhere analysis limit to decision difficult a e

up the results of myethnography of results the up ended ethnograp engagement with theories with engagement ilm ITS estival creating ue Zagreb Queer

estival

up doing participant observation and interviews at the 2010 2010 the at interviews andobservation participant doing up atten the meaning of of meaning the

nters of theory with fieldwork; fieldwork; with theory of nters n jbjn, attendi Ljubljana, in MANY

festivals. festivals.

come to be to come ded almost a almost ded her. However, her. and

would not be happening again. At that point of my of point that At again. happening be not would very - GUIDE Queer Belgrade F Belgrade Queer einl GT etvl s cutrat o th to counterpart a as festival LGBT regional 82

different festivals out of out festivals different CHANGES socialized with during many years of fest of years many during with socialized

In Section 3 Section In ol hv is at etvl dto i 2012 in edition festival last its have would

actualized. :R ue at than art queer ll of the Belgrade F Belgrade the of ll . This . as the thesis the as ESEARCH

of queer queer of ng it it ng . In 2010, I was still I was In2010, . .3

I , I will go into more details on details more into go will I , estival My research project has taken has project research My o te is tm, n feeli and time, first the for apter a plann was festivals and their visuality their and festivals with

developed , since I perceived them perceived I since , is an opportunity an is that PROCESS ANDPROCESS part

estival c ompar ing of ly

methodological shared , it grew to be to grew it , a

occasions ative festival festival ative looking for afor looking comparative regional for me me for Queer

clear ival , as as , ng e ,

CEU eTD Collection viewer/participant (potential) their than interviews intheir prominent withthe both them to refer to chose I role), professional muchoriented verywas Festival with the connection their (when as such designers and roles interlapping intensively sometimes with community, festival the in theirengagement of sense a give to interviewees 24 posters last interview with theFestival Zagreb in viewers chapters. following shorter) so shows, the after sites festival participating participants the of consistency the parties concerts, organiz artists participating ( Festival. volunteers viewers, artists, F con that years enthusiastic F Zagreb Queer data of the fi and this of implications the participating in one collaborative art project; and and project; art collaborative one in participating

estival time). estival I use I - olcin n ses f analysis of steps and collection the introduce I to fo te nie s el a well as inside the from ation

eld, the andfor real names of all of my participants, as allowed by them. I chose to use mostly first names of my of names mostlyfirst use them. to chose I by as allowed myofparticipants, ofall names real I addition, n

al viewer, I saw I viewer, artis together over the years, the t the years, the over together en hs eerh ecp in (except research this cern – I conducted most of the interviews with my Zagreb interlocutors interlocutors Zagreb my with interviews the of most conducted I

of a viewer, organizer, artist, volunteer. Only in several instances, when I interviewed artists interviewed I when instances, several inOnly volunteer. artist, organizer, viewer, ofa – estival

as following similar semi similar following y ilwr here fieldwork my

respectively , n 00 I ae diinl nine additional made I 2010, In n mmes f h audience the of members and a i member tw n writing process I tedd h F the attended I . semi

most of the films and attended most of the festival events in the 10 10 the in events festival the of most attended and films the of most – years, o related

in 2010, together with engaging in participant observation at the at observation participant in engaging with together 2010, in - structured interviews I have made made have I interviews structured

of the v the of

)

, and had had and , changes d changes

I ae done have I . n 05 n 2 and 2005 in

. designer to s hl Scin 3 Section while olunteers’ team olunteers’

- en interviews en n I ae sd th used have I and structured interview p interview structured sia sne t bgnig n 03 n as and 2003 in beginning its since estival o ln to along go 2011 83 uring the research project for my understanding understanding my for project research the uring ir first and last name last and first ir 24 h opruiy o xeine h f the experience to opportunity the

hn ws o al t priiae in participate to able not was I when working in the office and welcoming the welcoming and office the in working an 0, I 009,

r smwa different somewhat are interviews with organizers, artists and and artists organizers, with interviews

xesv aon of amount extensive and make intensive intensive make and .1 goes into the details of the actual actual the of details the into goes .1

I l o the of all status conducted in 2009 in conducted even em carefully in analysis in the the in analysis in carefully em .

–

as their work/profession was more more was work/profession as their attern. outee a te F the at volunteered ih h total the with events events

through In 2012, I made one one made I 2012, In – field notes field

, mostly with the the with mostly , fieldw im screenings, film

their their (conducted at at (conducted –

organizers, organizers, ork at the the at ork of twenty twenty of . As for for As . estival estival the an an

CEU eTD Collection The material. project, starting stages internet articles, web (newspapers, audience) of members and artists activists, programs, practices their use in of signification of acts rather, or the discuss power” and language of matrix the in culture of constitution the with claimed content ideological Galasinski common representation f at the formed been have methodologicaland choices Myresearch questions my of voices question my influenced render to hope I analysis. data and collection the with concerns theoretical my relates section This 3 ed o clua suis n v and studies cultural of ields .1

, it had seemed to me that all three of those sources will be equally importa equally be will sources those of three all that me to seemed had it , My data coMydata An There that both that concern Interface: Interface: published materials, posters, billboards); interviews (with festival organizers, organizers, festival (with interviews billboards); posters, materials, published question (2001)

is an important qualification to be made about the range of the researched visual visual researched the of range the about made be to qualification important an is Bt apoce t udrtnig language understanding to approaches Both . interlocutors utrl vns eerd o as to referred events cultural

myresearch inan

about ad oh ae en sd n edr n qer rtqe o nat the unearth to critique queer and gender in used been have both and , me from three broader sources. They are Theybroader sources. three from me c , or rather inflections rather or , ultural stud ultural s that that s Research Methodology

the ad prahs o interp to approaches and s the workings the led

particular social context talked back to the theory and made me see it in a different light. different a in it see me made and theory the to back talked

my ethnographic research in the direction of asking about signs about asking of direction the in research ethnographic my

ies and ies –

both textual and visual and textual both ambitious way in 2007. wayambitious in isual

ous T cvrg, you coverage, TV forums,

of power of critical

of cultural texts of gender and sexuality. It has been been has It sexuality. and gender of texts cultural of n linguistic and ad t some to and, ; 84 ue festivals queer studies

as pointed out pointed as

visible and and Questi Theoretical eain and retation,

of the queer cultural festiva

of discourse of

actual work of of work actual –

analysis the processes of how the theory theory the how of processes the

f estival of resistance to normativity, and and normativity, to resistance of

n hs eerh r nt “pride not are research this in /visuality esr extent, lesser ,

among others among - o te iul aa n the and data visual the how tube

visual materials ( materials visual have a common “concern common a have f discourses of

uploads

and culture share a a share culture and tngahc data ethnographic (

intersection of Ibid.

ei coverage media , ons

) l by Barker and and Barker by . .

:26)

n h early the In

n queer on nt for the the for nt

websites, websites, . ee I Here,

the - , CEU eTD Collection audience the and strategies artists’ and organizers’ of perception writing During the important collected the so vi the with concerned part most questions The need finally, examine and Negro Monte in visibility of queer/L a conduct to hoped conceptualizing in also but collection, its and festivals background organizations LGBT various of campaigns visual media or billboard festivals, vis produced: are they where venue the regardless of products visual of “queerness” of visibility public festivals”,

festivals ed

question of question uig the During beginnin the At on GB to

themselves

closely remains

change one festivalone is the ethnographic material based on interviews and participant observation. observation. participant and interviews on based material ethnographic the is

.. hy r nt utrl vns rud rd prds Still parades. pride around events cultural not are they i.e. T festivals in post in festivals T over iul rmwr fr comparison for framework visual

h fsia wud ae the take would festival the nomn m atvte in activities my informing

10 years 10 y mot my

the focus the at the heart of the of heart the at

, it it , proc visual .

beca

so as so g, my approach was approach my g, h Zge Fsia ebde i the in embedded Festival Zagreb the ess comprehensive ) ity and visibility through the visual and linguistic and visual the through visibility and ity to order in questions research and ives

me clear that the material I material thatthe me clear , and especially in the writing the in especially and , and even investigate the reasons for the lack of festivals and queer queer and festivals of lack the for reasons the investigate even and

and leave and to -

Yugoslav countries Yugoslav be able to

suality and visibility dilemmas around the queer festivals and festivals queer the around dilemmas visibility and suality are the intersected lenses of this this of lenses intersected the are Kosovo

project. In addition to the a the to addition In project. out out

Wa I ere i te rcs i that is process the in learned I What . oprtv ehorpi rsac o al of all of research ethnographic comparative

enter enter

some h fedok n te rtn poes r fr the for are process writing the and fieldwork the

overly hss in thesis 85 the

h lmt of limits the

of the data I data the of

with

fi (in fact eight different kinds and locations and kinds different eight fact (in

ual campaigns of pride parades and pride pride and parades pride of campaigns ual broad eld a in “realistic” collected the a

- not only regarding the kind of data data of kind the regarding only not direction direction up up ’s iul aeil of material visual

had h field. the period percepti concerning ctual visual art works, e works, art visual ctual post collected project arw y eerh focus research my narrow - other I , Yugoslav Yugoslav , i.e.insightful ons came t t iiil stages, initial its At , I consider all forms all consider I , , since visuality and and visuality since ,

on focus the than the for the the for

f h cultural the of

material o elz ht I that realize to

Croatian media Croatian media qu the all serve all I needed to to needed I e culture eer time being time ue art queer

way. s I have have I s qu as a as ally ally

the I , , .

CEU eTD Collection they since cr separately to considered be unintentionally, not should they that and violence, of experience women’s black on influence strong had both sexism and racism that showed She color. of women against violence on gender and race both of ramifications the c the event. festival the around and at intersecting non questioning inspiri of help the with festivals cultural of spaces other future publications the of analysis LGBT of interviews discussed questions the of third one about on only focused I analysis, collected. have I material I ethnographers, between differences Eventually, might they that of campaigns rest ofthedata analysi products/events oncept of intersectionality to “ intersectionalityto of oncept ng to look at the the at look to ng s, but s, I data other One hs israin I dissertation, this n festivals to discussions discussions to festivals .

The rest of the interview material interview the of rest The they occasionally the . .

Gay and Lesbian Film Festival Film Lesbian and Gay

- be

This is why is This n have also ended also have are present in this this in present are LGBT organ LGBT raie situated ormative used

ciit n f and activist - set ae “ eate

with asomewhat perspective. different to

that use it to it use This is also true of the interview material. interview the of true also is This ue Zge Festival Zagreb Queer establish the specificities of specificities the establish

explore I Inescinl uodnto ( ta) s rqety the frequently is that) (… subordination (I)ntersectional should be should izations in Croatia and other pos other and Croatia in izations eventually of q of up account f account support ness estiv

using the festival the eerh ny through only research ueer polit ueer

of al mentioned is the data the is mentioned

put the media coverage aside of of aside coverage media the put feminist theorizations of intersectionality. of theorizations feminist in this thesis only a small proportion of the of proportion small a only thesis this in as interpretative context for for context interpretative as eult a a ie f aiu dmnin o life of dimensions various of site a as sexuality or multiple grounds of identity” of grounds multiple or prahs to approaches 86 Kimberle Williams Crenshaw Williams Kimberle –

ics in post in ics

covering a wide range of topics from history from topics of range wide a covering in Ljubljana, in political political a te pc cetd hog a through created space the as , the festival the -

Yugoslav countries Yugoslav potential visuality my my may I have collected have I

t - Yugoslav countries Yugoslav interviewees hopefully s’ A . fqervsaiyi the in visuality queer of

strategies of of strategies on ocs ee if even forces, join in the semi the in uring the coding and coding the uring otn reported often s the discussion the

in (2003) the main li main the appear , as well as my my as well as , references ’ her her on - analysis of analysis

structured the first used used first visuality

, hoping , in some in I find it it find I nd for for nd

visual visual of the the of ne of of ne huge

by by to to .

CEU eTD Collection of provide insights uswith the interconnectednessgender, into ofclass, ethnicity forms and other non of articulation of spaces as festivals queer queering. identities religious post 2003) Crenshaw 1998; (Collins discrimination of axis multiple how analyze to intersectionality of theorists by developed inno with small this in studies belongs work my regard queer this and theory queer together bring intersectionality that projects research few are Lutz(Matsuda Wekker in: and 2001,22) hom looks that something see I When this?’ in heterosexism the is ‘Where ask I sexist, looks that something see I When this?’ in question” other “the Ma Wekker relate. and function differences differenc cultur how researching “ around structured for methodology precise a into intersectionality of yetcreate anot pre with interacting burden one of imposition the of consequence (discriminatory) tsuda who does critical race studies in the field of juris of field the in studies race critical does who tsuda - uolv countries Yugoslav I importance the Despite Wekker Gloria s ewe people” between es draw on draw

her dimension of disempowerment” of dimension her (Dietze, Haschemi Yekani, and Michaelis 2007; Haschemi Yekani 2008) Yekani Haschemi 2007; Michaelis and Yekani, Haschemi (Dietze,

t he methodo he into play with activism with play into interdependent, interwoven systems of ideas and practices with regard to to regard with practices and ideas of systems interwoven interdependent, social differentiation. I differentiation. social :

“

When I see something that looks racist, I ask, ‘Where is the patriarchy patriarchy the is ‘Where ask, I racist, looks that something see I When and Helma Lutz Helma and M . analysis y

( logy of intersectionality of logy

Ibid. and popularity and intersect in the in intersect :21) ophobic, I ask, ‘Where are the class interests in this? in interests class the are ‘Where ask, I ophobic,

I . il bring will (2001) . also points us toward a strategy developed by developed strategy a toward us points also

tretoaiy nbe u t look to us enables ntersectionality in order to order in wanted 87

of interd of (visual) - give

no aie coasi that scholarship vative

( rmative artistic practices artistic rmative

Ibid. in the categories of ethnic, national and and national ethnic, of categories the in to see what kind o kind what see to

a useful explanation of the develo the of explanation useful a question the question

strategies of representing queerness in queerness representing of strategies to to :358 isciplinarity for gender studi gender for isciplinarity trace down trace – prudence: 359) . organizational strategiesorganizational -

existing vulnerabilities to vulnerabilities existing

f “other questions” “other f how h patc f asking of practice the

use

(much) (much) s in the region can can region the in

nltcl tools analytical

t o those how at l et are texts al the es , there , pment actual actual Mari Mari

. are are

of of I ’” n

CEU eTD Collection written of analysis in c cultural potential political meaningslocal them” people produce the to mean can they what and used are images how both of o consists materials visual researching m observation, participant of data photo of observation exhibitions); queer by used materials (visual artis observation participant follows: as are They face homophob sexism, intersecting statements p ethnicity, class, gender, between relations the that ways the by posed orm Te a The rogram?

modes of analysistheoretical and approaches. . ts, volunteers, and audience members audience and volunteers, ts, is

- documentation. multiple and has and multiple h bnft f sn a “ an using of benefit The its with line In ontext of validity of ontext functions

the events of events se

the that various participants ascribe to these visual materials as well as t as well asmaterials visual these ascribeparticipantsto various that (Crang and Cook 2007 Cook and (Crang ayi of nalysis

rhvl aa collected data archival festival

soci n h clua events cultural the in

s se twrs the towards step a as and visual material visual and

ehdlgcl triangulation Methodological al life of visual objects visual of life al intersectional approach, t approach, intersectional Queer Zagreb Queer many levels: levels: many s

. the kn poorps n akn aot images about asking and photographs aking problematize The Que festivals a n ntoaim hc the which nationalism and ia

main approach to interpreting to approach main explicitly r arb Festival Zagreb er

that and other and f helping the researcher the helping f , 126 , , media coverage, works of art of works coverage, media ,

. I am indebted to o to indebted am I .

the

n recording and – ; of research materials; research methods; methods; research materials; research of

the a the multi eult, ly u i festival in out play sexuality, u awy stae i ter rae sca and social broader their in situated always but

– understanding 88 127) non

(in audience member’s homes or offices) or homes member’s audience (in and

his nalysis of textual and visual representations visual and textual of nalysis p - - ehdooia] approach” method[ological] ost uhapoc as hls with helps also approach Such . omtv sca pstos H positions? social normative

in project - when - Yugoslav queer festivals. W festivals. queer Yugoslav s rgas n their and programs ’s et itriw wt the with interviews depth s

analyzing relies f h bodr oil otx of context social broader the of verlapping concern verlapping actual actual

post “ my research material consists consists material research my understand more dimensions more understand

on multiple methodologies. multiple on - Yugoslav events

hs vros id of kinds various these –

films, performances, films, h pses and/or possess who

; s n neves in interviews) in ’ h e the

nul missio annual aiets and manifestos

q (interviewing, (interviewing, s of the fields fields the of s ueer festivals festivals ueer thnographic ow do the the do ow organizers, hat are the are hat heir actualheir as well as as well as engaging engaging ; and and n - CEU eTD Collection lives implicated sho of remnants paper the that: than more much no repository” archiving” and archives (2005) methodological particular s This 3 and as a “ process encompassing con identity”, “lesbian queering Wilton’s Tamson by informed sugg that “queer” positing the by captured “queer” of instead dif the out point to important matrix heteronormative the escaping queerness of moments BarkerGalasinski and sustain to order critical and studies cultural of .2

ection introduces the influence of the visual methodological concerns and of one one of and concerns methodological visual the of influence the introduces ection Critical Visual theMethodology Metaphorand Critical Queer ofA a analyze I nit that insists ests a given entity given a

a lc ta hls aeil n m and material holds that place a r

the “ the former in

as a verb, a as ntne o vsa at ok ta fnto a tmoay n contested and temporary as function that works art visual of instances material recordshas T . “ dialogue between the no the between dialogue h ntr o qer uclua atvt rqie a une t nuanced a requires activity subcultural queer of nature the “ (2001, 25 (2001, he importance of the dynamism dynamism the of importance he

it has to become a floating signifier for the kinds of lives implied by implied lives of kinds the for signifier floating a become to has it two terms that imply that terms two

ws, clubs, events, and meetings” and events, clubs, ws, ( metaphor,

Ibid. mlctn “queer” implicating , rather than capturing it by a noun that fu that noun a by it capturing than rather discourse eec i mks o ak about talk to makes it ference ceptualizing it as an “activity rather than an entity” an than rather “activity an as it ceptualizing – :169) aflexib more 26) (1995) .

. In Halberstam’s view, a queer archive is not “a “a not is archive queer a view, Halberstam’s In . ht of that

inspired my

similar similar studies

n doing, doing, 89 le set ofmeanings” h qer archive, queer the - linguistic and the linguistic” the and linguistic

w ocp o “lesbian of concept

as ith “ ith emories interest in the posters on people’s theposters on in interest walls as the act of of act the seemingly p ower and the politics of change” of politics the and ower f enn making meaning of

(

Ibid. f non of

se hpe 6 Chapter (see accomplis

a product. Such emphasis is is emphasis Such product. a ) qern” and “queering” o ti project. this for ( . This evocat This . Ibid. - omtv sexuality normative - nctions as an as nctions :X) es ta eggs in engages that ness” hing queer hing .

, as pointed out by out pointed as ,

rchive ) I is It . ion of traces of traces of ion can be better better be can “ Halberstam Halberstam queerness” queerness”

- (Ibid., 49) (Ibid.,

ing adjective therefore heory of of heory

hence hence ; it is is it , in in ,

CEU eTD Collection c research project. an as well research visua itself is that something evoke to used are 15) 2007, cultural visual and converge studies sociology visual anthropology, visual of fields the by shared ground practical and theoretical common The itself. methodology research the of part as integrated be queer conceptualizing smell andtaste?” “ “ for central “knowing” the of part as Taking photographs phenomenology queer of framework theoretical to documentation term the of sense material and a c work important signs. exit of traces What do we see when we acknowledge the shadows we cast in the field? Wh field? the in cast we shadows the acknowledge we when see we do What onnected to the queer festivals, and at times, for comparison, also the images of images the also comparison, for times, at and festivals, queer the to onnected open up possibilities for bringing t bringing for possibilities up open omplex record of queer record of activity”omplex h fi The and researching for terms central are visibility and visuality vision, of issues The to addition In

use in the media the in . According to Rose to According . interven d

s method rst an anthropological approach of approach anthropological an : (Ibid.) it is “ is it s around investig around s

(BarzLüdtke Cooley and in (1997) 2009,13)

(2007) tionist methodological approach methodological tionist , because s because , , also a theory of cultural relevance, a construction of collective memory, collectivememory, of constructiona relevance,cultural of theorya also Furthermore ethnography,

visuality I

also nml rsacig h soci the researching namely , I deployed deployed I n ew et ew made the

(2007) in the making in making the in uch “filmic approaches” “filmic uch fieldwork reflects fieldwork hnography” ations of the “ the of ations ,

use of two other other two of use in as ogether - , “ ,

et intervi depth consist

Halberstam ( Ibid. photos do analytical work most helpfully when they they when helpfully most work analytical do photos :170) 90 the funct the

ed researching the social life of visual material visual of life social the researching that is believed to believed is that l, at least in in least at l,

transfo post of , .

, i.e. making photographs as a part of the the of part a as photographs making i.e. , wn ad collecting and ewing n is oeta fr oiia activism. political for potential its and my argues idn out finding - critical visual methodologies visual critical Yugoslav countries Yugoslav ioning of visuality of ioning

rmative potential of the visual” the of potential rmative l ie f iul aeil ad photo and material, visual of life al interest in combining the “doing” and and “doing” combiningthe in interest

(Crang and Cook 2007) Cook and (Crang , part” the .

ue archive queer e (Ibid., 256) (Ibid., bu the about nable

the researcher to ask: ask: to researcher the

in the everyday, the in te textual/visu other -

hence they hence

. This is why my my why is This . visual materials materials visual at do we hear, hear, we do at accomplishes

are argued argued are

the in Rose’s in LGBT had to had

(Pink (Pink the the

as al -

CEU eTD Collection an homespace, their in material visual space public 25 orient scr deserving own inits ofconsideration “texture” describe to attempts theory what examples visual specific generalization” photo through research the of aspect theoretical the of and development analysis further for reference of point as functioning interviewing, in used responses “evidence” visual as way: particular documentation” process. interviews the contexts. urban is objects the as well as texture/material “materiality” materiality interviewin on concentrate myinformants. of everydaylife the in objects visual also interviews the during photographs) private posters, (photographs, campaigns visibility

While ipts”

ask ed

I have I second The

only one interview with an organizer took place at his home, most of the other interviews happened in in happened interviews other the of most home, his at place took organizer an with interview one only ed

that

y rcie f “ of practice my to the analysis and the descriptions (adding visual texture to theory, as enrichment enrichment as theory, to texture visual (adding descriptions the and analysis the to

concerned with their travelling, re travelling, their with concerned , reactionsabout viewers’ –

usually connected with the Festival. However, I have asked all of my interviewees for the festival festival the for interviewees my of all asked have I However, Festival. thewith connected usually mobility

were

f h actual the of but

ht il d vsa seiiiy o h ana the to specificity visual add will that the analyzing In ouetto my also may documentation en y eerhr Te photo The researcher. by

ikd o h rsac questions research the to linked at times at taking photographs at the festivals the at photographs taking

method and effects 25 bt t is it but g

pho on

of iul object visual se d solicited photographs. photographs. solicited d

to ttings ttings my own observation and notes and observation own my “ of visual objects objects visual of effects intervention - . This documentation”

right) or rather as semi as rather or in which in

also ” included asking about included

of th of (Ibid., 246 (Ibid., - s -

ouetto mto ue photographs uses method documentation

91 contextualization function in different ways: as “specified “specified as ways: different in function nomd y nhoooia itrss in interests anthropological by informed

entails entails e visual materials, I relied I materials, visual e

md ue of use made I they are present are they

Ii. 216 (Ibid.,

Ii. 243) (Ibid., This ethnographic approach does does approach ethnographic This range – to generate data according to “shooting to according data generate to (Ibid., 244) (Ibid., - 247) structured invitations for participants’ participants’ for invitations structured what those images images those what d .

lysis (i.e. they may illustrate as as illustrate may they (i.e. lysis

rm rcia oe, s ones, practical from –

n ocps, r s providing as or concepts), in

and/or passing on in different in on passing and/or the presence or absence ofthe absence or the presence 237) Te r The .

ed. The “ The ed.

concerning . Some of the photos made made photos the of Some . s h so the is . h osrain of observation The sac qetos that questions esearch mob

the interviewing the - show; in their their in show;

ald “photo called the analysis of analysis the ility”

of visual visual of not just just not c as uch in a a in

and and the the the -

CEU eTD Collection queerness about talking not t ontology by influenced “queerness” what on theory mean actually the at witnessing difficulties theoretical the resembled were they what define to attempts their that talk interlocutors my to queer regional and local of perception their experiences, about asked questions interview and design research My 3 in the future. use ofthissolicitedlimited visual archive here my in Iwhy turned to“photo we and interlocutors, my for enough fresh were be to out turned ph the Showing project. research the during turn surprising “photo of approach the way, this in photographs of archive – representations visual through capture and escape in interestresearch the by informed directly questions to place, take events visual these where spaces the documenting and identifying

.3 attempting to identify the queering points of exits. exits. of points queering the identify to attempting

interviewees’ Thinking aboutMethodology QueeringThinking o interrogate how the less explored terrain of methodology offers possi offers methodology of terrain explored less the how interrogate o

s Tom

to my participants participants my to in a way a in Boellstroff’s Boellstroff’s

ho - solicitation” tolearn about more solicitation” the social lifeFestival’s ofthe posters ing about the art works they had they works art the about ing me spaces. However, due to space constraints, I make make I constraints, space to due However, spaces. me unnecessary

s n bet Ised of Instead object. an as mi ght be. In bringing together these two discussions, I was was I discussions, two these together bringing In be. ght (2010) eebe h cmlx icsin i a in discussions complex the resemble of

since the last t last the since

defining queer defining

suggestion to leave the terrain the leave to suggestion 92

(in Section 2 (in

seemed to share to seemed

art. art.

years of the F the of years hl I While

ue studies queer seen at the queer festivals, I realized I festivals, queer the at seen politics The discussions on what on discussions The .1) h research the , and hope to publish more publish onit, and hope to tgah t m interviewees my to otographs - ouetto” a tkn a taken has documentation” . How . ae rae a ml visual small a created have

this visual archive. visual this Queer estivals’ visual material visual estivals’

ever, a ever, where queer persons, persons, queer where

of epistemology and and epistemology of atcpns festival participants’ nd around queer queer around nd Zagreb s I was listening listening was I s only bilities for bilities queer art queer Festival This is This a very very

CEU eTD Collection researchmethods methodology, of questions discusses rarely asking in interested tendencies. well as sciences social toward gaze reflexive a turning suggests relationships” social expropriating acquisitive, towards “tendencies of reductionism risking and violence instance, for Heywood Ian approaches. anthropological and sociological through art explaining to “ q an ethnography together Bringing ethnography. queering on writing epistemological analyzing in reflexivity researcher the of role the and ethnographies writing ethnographic in reflexivity ref 2010) Nash and (Browne sim of discussions things self not transform a for opting life or practices explore(s) logicsethnographic thenormative research of and w er hoy n qaiis t with it qualifies and theory ueer ining the premises of Clifford and Marcus’s Marcus’s and Clifford of premises the ining i lar developments in developments lar Apart of aware also am I project My

from exploring critical visual methodology visual critical exploring from

- rtqe sm mjr sociolo major some critiques the practice of reflexive anthropology reflexive of practice the evidently queer”evidently - tls r aaye, n wee “studies” where and analyzed, are styles (Plummer 2005, (Plummer o is raet horizon broadest its on , what a queer methodology might “look like” “look might methodology queer a what to o te icpie no a into discipline the of ation

. self Contemporary approaches to reflexive anthropology are engaged are anthropologyreflexive to approaches Contemporary the - reflexivity of the researcher in researcher the of reflexivity criticism of and within sociology of art that warns of the limits the of warns that art of sociology within and of criticism

( Ibid.

366) n h cnet f vrdy ie, and life”, everyday of context the in :215)

the art worlds they research. H research. they worlds art the by continuing to ask about processes of writing writing of processes about ask to continuing by . I think that researching such transient events as queer asevents transient researchingsuch that I think .

and representational practices practices representational and .

ia apoce t art to approaches gical pr from apart 93

has

Hit 21, 140) 2010, (Heintz

also (Zenke Writing ue studying queer

and reflexivity in reflexivity and voicing en influence been

ucin a a on h proposes he noun, a as functions r and Kumoll 2010) Kumoll and r

queer and feminist ethnography feminist and queer Anthropology riting”

kpiim f conventional of skepticism

– -

e finds in some of them of some in finds e given that queer theory theory queer that given . s n nioe o these to antidote an as –

qer theory queer d

for (Rooke 2010,26

hs omtet to commitment This an an ( , d by contemporary contemporary by d Ibid.

s hrd by shared is

n h other the on on sociological doing research nlss “ analysis

that :57) , as well as by by as well as , Heywood . aimed , Iam

vn of even (1997) “

– recent recent hones hones hand 29)

also also for for in .

, ,

CEU eTD Collection representations metho multidimensional. myreading scavenging masculinities” “female overlook curiously of readings the unearth to order in texts “ poten under pass to tend effects whose but place taking while c volatile politically a in campaigns visibility and festivals cvne methodology scavenger ilte o qer ehdlg. ee a i am I Here methodology. queer of tialities s ih pca fcs n visual on focus special with ds

both share an investment in re in investment an share both Certeau’s de recalls

make y research My s use and tests s use

( ” Ibid.

ht “raids” that

:9 – (2011) 13) ein f co of design

the limits of the limits . abrtms ocpulzto o qer eerh as research queer of conceptualization Halberstam’s

dcntut a at ra o tertcl n cultural and theoretical of array vast a /deconstructs redefinition of the practice of reading as reading of practice the of redefinition -

imagining the activities in question as complex and complex as question in activities imaginingthe methods 94 bnn a rclg o qaiaie research qualitative of bricolage a mbining

visual “scavenger methodology” sie b Halberstam’s by nspired

o analyze to ed p ed - ontext hoie, need theorized, henomena , which subversiveness

generate excitement generate -

s in her case that of that case her in

o rpl with grapple to

(1998) . poaching

of queer queer of

use of of use : in CEU eTD Collection This politics. and art of discourses public Croatian the of queering radical a for aimed broader and practices ofqueering art politics. f in audiences; self for look I manifestos, in analysis: enables that shorthand methodological for decided have I why, is This them. of most even or all analyze to inability admit to have I images, of multitude audiencing of site and sites three methodology approachwill experiencesch festival theparticipants’ of art. of works chosen several of analysis through heterotopias festival queer specific programs festival “manifestos”), (festival all, of First chapters. analytical in sources of analysis to regards in triangulation to corresponds heterotopias and chronotopes of practice Zagreb the the of realizing picture clearer a get to creation, their of events and programs visuals, Chapters in and Here audience. the participants its of voices the through field the of ethnography The 4

CULTIVATINGARTQUEER ZAGREBIN - h c The n eea, sal ru ta th that argue shall I general, In repre of creati of ” sentations; in programs, for strategies of bringing together vario together bringing of strategies for programs, in sentations; atr tutr i loosel is structure hapter

as developed by Gillian Rose Gillian by developed as sia visuality estival on of the meanings of an image: site of production, site of the image itself, itself, image the of site production, of site image: an of meanings the of on

Festival. Festival. Queer Zagreb Festival Zagreb Queer ( Ibid. :13)

Conceptual attention paid to symbolic geographies, festival festival geographies, symbolic to paid attention Conceptual I will read organizational strategies through analysis through strategies organizational read will I n hpe 6 Chapter in Sne n fsia a a utrl hnmnn generates phenomenon cultural a as festival any Since . 5 and 6 and 5 ifre b te rmwr o “c of framework the by informed y peerd iult o the of visuality preferred e ad iul material visual and , –

, I turn to the Festival organizers organizers Festival the to turn I ,

(2007) activists and artists, organizers and member and organizers artists, and activists 95 , for ways of queering posters that signal the the signal that posters queering of ways for , in Chapter 7 Chapter in

–

particularly the analyti the particularly ronotopes through interviewronotopes analysis. through :FESTIVAL MANIFESTOS

will show will . Second ue Zge F Zagreb Queer

the complexity of the of complexity the I il investigate will I , cal interest in all in interest cal us art forms and forms art us – iia visual ritical

to the texts, the to

Finally, I Finally, of texts of estival s of of s

CEU eTD Collection conceptually and activism, of waves new about bringing catalogue reading on is focus of indications entire p self elitist, this is it that tr and audiences the of attention the to it bring to organizers ofthe eyeexpert and skills ground,an butneeding the alwayspresent on already as presented is sexuality with dealing artists regional of work the and art queer regional show, manifesto the As metaphor. cultivation the through created binary the of side audiencing. other or community the of of members rest the influence to expertise theoretical artistic, or professional organizational the have who those into field the of division the implies practice as the of strategies organizational forms art at andnature ofqueer staged the Festival. a audience queer a of “invention” the both presupposed cultivation This cultivation. of project a as also avant and art s programming the since However, was queering The genre of “manifesto” is theorized as important for feminism, both historically both feminism, for important as theorized is “manifesto” of genre The c this In passive the on placed unfortunately are artists the also audience, Festival the only Not the understanding for central as cultivation of trope the foreground intentionally I roject ofqueering s

nd nurturing of its tastes, and the maintenance of the radical questioning of the the of questioning radical the of maintenance the and tastes, its of nurturing nd in order to in order

the audience audience the -

garde influences meet popular culture, the project of queering was envisioned was queering of project the culture, popular meet influences garde development and changesin and development mgnd n aiets s the as manifestos in imagined hapter,

the outline

annual invitations to the F the to invitations annual - I take take I satisfied presumption behind cultivation of queer art that brings the the brings that art queer of cultivation behind presumption satisfied

of normativity doubt. into –

who are presented as in need of becoming cultivated through through cultivated becoming of need in as presented are who a genea Z the agreb trategies framed the Festival as the time the as Festival the framed trategies nul mnfso” f t of “manifestos” annual logy of Festival. In addition to its creative aspects, cultivation aspects, creative its to addition In Festival. strategies of strategies the 96 ansnational art world. In this chapter, I chapter, this In world. art ansnational

F subversion estival and estival estival’s self

the

F –

estival organizers estival the the of the oppressive mainstream. mainstream. oppressive the of s nbig e iaiig of imaginings new enabling as - he representation introductory texts in F in texts introductory ue Zge F Zagreb Queer - space where high where space .

. T . analysis will will analysis he analytical analytical he estival suggest estival estival –

as in

CEU eTD Collection t analyzing for relevance bears that manifestos art ( reco and action’ ‘immediate and ‘anger’ and ‘we’ mean can which (…), sign as functioned manifesto this through constructed identity collective the that three in collectivity provisional p concrete on based languagesand constructing manifesto of type different a as Montreal Lyon collectivity, a ironica F self the at looking when account into taken be to has genre providingfor a a model pr v a to successfully appeals it oppressor; the of crimes reconstructsthe it history; marginalized previously a terms, own its largeextent) a to one, utopian a does (aspoliticalmanifesto A goals. observeit m of genre the of functioning the understand to Furthermore, change this achieving for necessary the events, the of turn complete instantaneous, ambitious, analyzed here. on influence have forms both as importance, particular of is manifesto Janet change. and empowerment Ibid.

estival infe o univocality” of signifier :197 The challenge of postmodernism to the representational possibilities of the manifesto the of possibilities representational the to postmodernism of challenge The lly or earnestly play with the with earnestlyplay or lly In addit In Ly to According . Lyon . rds through its capacity as a performative speech act, that angry collective action collective angry that act, speech performative a as capacity its through rds – 198)

ion to utopian and political manifestos, it is also the articulation and legacy of of legacy and articulation the also is it manifestos, political and utopian to ion . analyzes several poststructuralist and postmodernist feminist feminist postmodernist and poststructuralist several analyzes

icse the discusses n w on, ovisional coalition oae cd o jsie i dfns t on oeta adec by audience potential own its defines it justice; of code iolated

( Ibid. ie the hile Aids Action Now Action Aids

roposals of direct action instead of on identities. She arguesShe identities. on of insteadaction direct of roposals Lyon’s :171) we ,

they employ as “ employasthey n fcss n t poes n hsoia context. historical and process its on focuses and A opsd o h psmdr s postmodern the to opposed As . tpa manifesto utopian (1999) ( 97 Ibid.

extual self extual

!/ACT UP !/ACT :192) distinction . an index of multiplicity rather than as as than multiplicityrather of index an

political manifesto political -

pr -

representation of representation ek pltcl chan political seeks

manifesto published in 1989 in in 1989 in published manifesto esentation of the of esentation ewe uoin n political and utopian between anifesto , even as it accomplishes, it as even , ,

festival t s ntutv to instructive is it

settles the steps the settles “ manifestos that manifestos queer festival queer

an ideolog an Queer Zagreb Zagreb Queer centralizes, in centralizes, etcs of kepticism

ge through through ge manifestos ical ical s ” .

CEU eTD Collection it Festival each of representation F – c this In 4 of action. programming F the of analysis the Festival discussed byDjurićŠuvaković and norms the breaking aesthet and politics with art in queerness discussions theoretical What interviewees. Section world. located primarily is change to want they situation the that in differ however, manifest utopian and to political testifying of features the of many share manifestos Art

sia manifestos. estival . .1 including art work selection criteria and broader progra broader and criteria selection work art including In what follows, I follows, what In

Organizing Queer Festival Queer Festival Organizing this In

led i Scin 2.3 Section in Already

hapter 7 as a project of queering mainstream art and culture in Croatia in culture and art mainstream queering of project a as .3

I dissatisfaction with the with dissatisfaction

, (2) (2) , as a strategy of defining of strategy a as , will Chapter I analyze how the organizational strategies of the of strategies organizational the how analyze I

Festival organizers’ practices organizers’ Festival negotiation of Festival chronotopes Festival of negotiation ou on focus also propose Here sia mnfso i srcue aon te sus f (1) of issues the around structured is manifestos estival I m ocre wt textual with concerned am I , unmistakably c unmistakably I

that Festival manifestos can b can manifestos Festival that ou o oe ao strategy major one on focus utlyrd oa maig o qer r current art queer of meanings local multilayered

I discussed discussed (2003)

past and suggesting future changes and alliances. They, They, alliances. and changes future suggesting and past

in and creating and haracterized the legacy of legacy the haracterized Manifestos ics of transgression. The sense of art as devoted to devoted as art of sense The transgression. of ics .

uncertainties 98

– with my interviewees’ statements statements interviewees’ my with

this is this

(regional) queer art and Festival’s role in in role Festival’s and art queer (regional) , and (3) relations in in relations (3) and ,

self

mming choices mming the choice and framing of topic for for topic of framing and choice the

- n defin in representation e divided into three groups: those those groups: three into divided e

ht ep u understand us helps that Queer Zagreb Festival Zagreb Queer Yugoslav avant Yugoslav n “ ing . In following s following In . ue art”, queer – of s

the F the come across in the the in across come

ue Zagreb Queer within the art art the within estival’s field estival’s

practices of of practices os such as as such os among my my among - is aligning aligning is gardes

hl in while ections, ections,

team se , as as , lf -

CEU eTD Collection perspective sug and normativity, social discriminatory of web t in strategies political tootherin subtle curatorialand more thedoors politicalthat opened project representation queer of possibility a of terms basic the defining on is focus inlocalexisted terms tomake bloom. it percept artistic its and queerness a used is strategy This region. the and Croatia 4.1.1 nationalism andmilitarism, of “queer of meaning intersectional queerness to related topics divide public/private harmfulthe exposing include themes issue works art queer producing and/or Festival the framing for organizers the by chosen topics the and mainstream; the confront directly manifestos/programs donothave abut letfor the art set that themeworksthemselves. speak that those art; queer (regional) define that I see t I see he years to come. The manifesto situates the F the situates manifesto The come. yearsto he

Festival Manifestos “Defining” (Regionally)Festival “Defining” Quee Manifestos after he he nlss f h mnfso eal u t t to us enable manifestos the of Analysis first group of manifestos of group first

: nte a ivttos o h F the to invitations as another

usinn o cmlx aeois that categories complex of questioning , for instance, for , ness s effects of heteronormativity on children, on heteronormativity of effects

” in Croatian in

in Croatia and the region. They refer to the narratives and histories of histories and narratives the to refer Theyregion. the and Croatia in

hmtcly te egg with engage they thematically, post masculinism ions - . The ten The .

socialist queer socialist as using the strategy of defining queerness and queer art in art queer and queerness defining of strategy the using as arts and politics and arts –

So, i So, unearthing and taking care of something that already already that something of care taking and unearthing . sia t estival Queer Zagreb Queer

n the first Festival manifesto in 2003,theprimary n thefirst Festival in manifesto

99 estival as searching for a way out of a complex a of out way a for searching as estival

identities; ak Festival’s rack means of “cultivating” local and regional regional and local “cultivating” of means hrough . Not only do the manifestos touch upon upon touch manifestos the do only Not et the gests cons r Art

u is e yas The years. ten its out

“

s mjr play major a as manifestos the genre of genre the titute the (mostly) stigmatized stigmatized (mostly) the titute and questioni and what could be recognized as as recognized be could what

method self - ” ersnain through representation

open up one up open regionally

f sn a using of ngt er

in discovering discovering in he challenging

established established

rai, a Croatia, queer tabooed queer queer

art

;

CEU eTD Collection th for escape of ways providing community. ofthe Thethat manifesto the text explains and situation, this to reacting of space seco the in voice authorial organizers’ the way, heteronorm rol important an plays still machismo, and militarism as well as beliefs, religious in fundamentalism and of interrelatedness the of understanding relat of set complex a as presented again is challenging Croatia in culture identities” queer to dedicated activism bringing festival” cultural significant “a as festival their describe the socie as well as event first the of success the by motivated organizers the of F estival so as to emphasize its r its emphasize to as so estival rit t peet hi wr pbil ad o ute te developme the further to and publicly work their present to artists life. public and media the city, the throughout venues institutional most programme interesting and diverse a using identity (Ibid.) established, thus generalizing inadecisive thegeopolitical somewhat though context With Si in can orientation, sexual or anyinspiration for discrimination the moment become eyes the of color skin, the of color ethnicity, sex, on based family different relation, ca from out set not does which state and perspective, queer the through observing are we constructs church the of some just are structures militarism, prejudice, stereotypes, Social trying to challenge Croatian heteronormativity through presenting new views on queer queer on views new presenting through heteronormativity Croatian challenge to trying tal context context tal milarly to the first year’s manifesto year’s first the to milarly

ativity within Croatian within ativity society” e within thesociety;Croatians within e ht change that s

slowly. Never having suffered from modesty, the organizers organizers the modesty, from suffered having Never slowly. At the same time Queer Zagreb is empowering local queer queer local empowering is Zagreb Queer time same the At eleva tegorizing people. Because any categorization, whether it is it whether categorization, anyBecause people. tegorizing nce. Thus, nce. (2004a, 1) (2004a, practices of practices , the authors the (Ibid.) uch a uch 100 we hear both the freshly self freshly the both hear we F the presents then manifesto nd . legacy strongly contributes to the processof the to legacystronglycontributes . The context that makes queering art and art queering makes that context The .

which allows it to be extremely visib extremely be to it allows which domination:

of the 2004 manifesto 2004 the of

Queer F Zagreb (Sic.) .

(QueerZagrebFestival 2003a,1)

and presenting it presenting and

“T together “art, theory, and and theory, “art, together he legacy of nationalism nationalism of legacy he estival t f ue identity queer of nt ions informed by an by informed ions contextualize the contextualize -

is confident

in some of the of some in e local queer queer local e echoes of the the of echoes

estival as a a as estival voice voice le in le

CEU eTD Collection whattime the criterion “importance“,judgement of thevalue see to achiev an of more even Festival the make to order in vulnarability possible. event in the Finally made that organizers the of struggle political the and negotiations of processes actual the presents text the how to attending worth is it think I years. ten Festival's to oriented declaration programmatic a space i created the open leaving yet events of series a closing of task daunting the with playing Although celebration of theF a manifesto 2007 the of function the aids normativity religious of ridiculing and distancing giving on up given have truths Differe out. thinned have place taking is festival the where cinemas “ pe had who opponents (few) ironic an through established is accomplishment this and success, F fifth The celebration. its queer regional defining of task the where moment the set which manifestos of Croatia “empower(ing) su and wave a of growing fe (ny fv yas t a b pody ad ht oie odn i fot f hars and theatres of front in cordons police that said proudly be can it years five (only) After n smlr en t vein, similar a In

which are the events that the F the that events the are which ” The final The

(Queer Zagreb Festival 2007a, 1) 2007a, Festival Zagreb (Queer this text, the organizers seem to be able to afford opening up to the risks and and risks the to up opening afford to able be to seem organizers the text, this n wake of the ten years of the F years the of the ten n wake of

h idpnet utrl cn nt ny n arb bt n h woe of whole the in but Zagreb, in only not scene cultural independent the Festival estival’s programmaticestival’s success. and political e manifesto he

mani estival terms of post of terms acefully protested in front of F of front in protested acefully mrzs h iprac o te F the of importance the mmarizes festo of 2012 is an is 2012 of festo

us their non their us

n 2007 in

f the of estival organisers consider important and at and important consider organisers estival

the future. The text starts with a recollection of the the of recollection a with starts text The future. the . I see this manifesto as belonging to the firs the to belonging as manifesto this see I . - Yugoslav queerness in as far as here we see the the see we here as far as in queerness Yugoslav

- is conceptualized as a “jubilee”, a festivity of of festivity a “jubilee”, a as conceptualized is 101 benevolent advice” benevolent ue Zge F Zagreb Queer estival, it is still much more of an “eulogy“ than “eulogy“of an than much more still is it estival,

ness is no longer pressing and gives way gives and pressing longer no is ness editorial

by th by ,

sia vne i is is years: first its in venues estival comes tomean: estival

e Festival program director program Festival e (Ibid.)

rendering of the F the of rendering e nt interpreters of Biblical of interpreters nt ment. Here, it is possible is it Here, ment. sia t estival

n 2007 in . This tactic of ironic of tactic This . a cnit in consists hat

celebrates the the celebrates

the same same the estival’ t group group t s a a s

to s .

CEU eTD Collection that Zagreb” “Queer Season could be” if tobeassessed success come self triumphant these where from spaces the are those short, 5 Section o still but way, indirect and mitigated highly a in “could”, verb modality the with be”, could queer what all “discovering of mission common the under influencing understand the audiences, with interacting artists, the with and community queer the with working event: the of participants actual the to directly more devoted are sentence the of clauses constituent purely to relate achievements the of thirds two than more generalization, the qualify To right. audience the to appeal the get to trying artists, with negotiating organizations, similar other with cooperation media, the with networking fund of tasks organizational the to devoted sentence org anizational struggles that the F the that struggles anizational

The Festival ended in 2012, but con but 2012, in ended Festival The endeavors different very those of all unifies sentence this of statement final the Yet of recollection dramatic a have we paragraph, dense and concise a in Here had funall what discovering queercould be raised audiences; the of that artists those with work to not decided us; inspired in sprung which initiative and e each remembered were; we than stronger ilnesses, AIDS, our theater of regularlives the disturbed and institutions foreign to funding additional for asked each place; for risk potential discussed firms; unannounced and to planning were we that yesterday only was It n 2013 in xpected .1 , I will discuss if and how the declarations are present in the actual programs. In programs. actual the in present are declarations the how and if discuss will I ,

n n 2014 in and support; tirelessly spoke with the media; cooperated media; the with spoke tirelessly support;

for sponsorhips; applied for funding to the Ministry the to funding for applied sponsorhips; for can be found on their website sin website their on found be can

protests against the festival; arranged discounts with discounts arranged festival; the against protests ingart. ofqueer

evrin ad htvr hy huh o u; pretended us; of thought they whatever and perversions I i o neet o ok t the at look to interest of is It .

the standard of our work and that of others; simply put simply others; of that and work our of standard the estival organizers find important to share. It is a single long long single a is It share. to important find organizers estival

the field that is our community; worked with artists that artists with worked community;our is that field the ful and for whatful and for reasons.

mase ad onain; nee theaters entered foundations; and embassies tinued 102

organizational tasks. Only one third of the the of third one Only tasks. organizational location where the festival program takes takes program festival the where location

unexpected support; resented lack of each of lack resented support; unexpected . with a yearlong program as program yearlong a with

(Queer Zagreb 5) (Queer Festival 2012b, ce

start a festival; dealt with announced with dealt festival; a start - asn, organizi raising,

2013 in a prominent position position prominent a in 2013

technicians and management with management and technicians

current were a pain; raised expect raised pain; a were eig t u it pening - evaluations and “what queer queer “what and evaluations

short description of description short

with each organization each with

and the City; applied applied City; the and t te uue In future. the to p ng festival venues, venues, festival ng

private se private Queer Zagreb Zagreb Queer ten

yearsof

ations curity curity – to be be to –

that

and the the we we

CEU eTD Collection the in out set is strategy This program. festival through heteronormativity regional and manif of group second define that manifestos the to contrast In 4.1.2 Festival Manifestos them, and re activists and theorists artists, curators, queer of instead out speaks that platform ab openly “speak to ability an on taken trends new interpreting and discovering with concept This “season”. annual a into grown has and years ten Festival’s the in empowered been has queer” of “concept The metaphor. cultivation the in a see I what to arrive we Here itself. co the but artists, or individuals queer not is formulation this to according empowered is who and what community, queer local the of diversification and strength to contributed noti to in art queer and queerness defining of project manifestos’ constitute societyand artistic practices that norms the about openly speak to daring while trends new interpreting and discovering tracking, of capable arts, in excellence for platform wider a as queer of concept mission a of least, at or manifesto a of post This anthropomorphic e ht lhuh h Fsia ecuae lcl n rgoa qer rit, and artists, queer regional and local encouraged Festival the although that ce ndering them partially them ndering invisible. - aiet gvs fsiaig nih it te femt o te Festival the of aftermath the into insight fascinating a gives manifesto

estos qualities qualities Testing Testing

” uses the strategy of directly confronting and subverting the local local the subverting and confronting directly of strategy the uses

“ ( - platform Queer ZagrebQueer Festival turned –

the Mainstream t a prom rfsinl uaoil ak o “tracking, of tasks curatorial professional perform can it s the s - platform had platform ”

“ wie etvl ek ha week festival while , the terms of queerness and of queer art in Croatia in art queer of and queernessterms of the out the norms”. The Festival had Festival The norms”. the out

in “managerial” concept of queerness, already implicit implicit already queerness, of concept “managerial” -

statement: the art world. art the

103

grown into a powerful organizational tool tool organizational powerful a into grown

2013, 1)

“ ue Zagreb: Queer

the In the process, however, it had it however, process, the In . Croatian context. It is important Itis context. Croatian

tasomd no n entire an into transformed s An empowered new new empowered An

cultivated a queer a cultivated –

substituting ncept

, the , also also CEU eTD Collection best 4) excel an is hand, other the on platform, a as Festival manifesto 2005 the in delineated reactio heated cla the of all invites manifesto 2005 The viewers. non potential its for F the offers It “solution”. the sam the does text this that surprising not is it it, to solutions political radical offering and injustice social automatically to presumed 2005 this of result a As assumptio the childhood”. event, the of personification of a “Heteronormativity on take focus: to its enough for strong topic felt contentious organizers Festival the words, other In others. the by colors right girls, and boys for behavior proper about the about writes author The Dobrović. the by signed catalogue the of beginning the “manifestos”, Festival as read I which catalogues, Festival genre. cult manife .

im toprovidingim space a children. safe for The logic of unfavorable answers to answers unfavorable of logic The The 2005 edition of the of edition 2005 The in consists manifesto utopian or political each of strategy the As ure. To this group belongs the belongs group this To ure. heard in the alarmist tone of a newspaper article warning that the that warning article newspaper a of tone alarmist the in heard

F stos as acts of provocation provocation of acts as stos estival the strength to strength the estival rm hs er on year this From e. What is exceptional is What e. ns in the media while the F the while media the in ns - normative children viewers or at least for the “inner the for least at or viewers children normative t ,

be heterosexual. he unsigned invitation/mission statement of the 2003 and 2004 2004 and 2003 the of statement invitation/mission unsigned he Queer Zagreb F Zagreb Queer confront the confront estiv al and the queer art works it exhibits as a possible way out way possible a as exhibits it works art queer the and al

2005 of the Croatian mainstream through queering through mainstream Croatian the of ” is the perception of the actual form of injustice as well as well as injustice of form actual the of perception the is Te fsia a a om (sic) form a as festival (The)

2005

the questions posed by posed questions the manifesto

questioning n of some childish exploration is hoped to give the the give to hoped is exploration childish some of n estival organizers estival

F 1 estival estival 04 m to its events its to m

ue Zagreb Queer ,

though was the occasion the was

lent forum for posing questions” posing for forum lent as

of and actions, frequently m frequently actions, and if the about a three a about a change is made to the manifesto manifesto the to made is change a

is modified modified is

pressure put upon children upon put pressure remained loyal to t to loyal remained ,

the 2005 the indirectly making a making indirectly

rga drco Zvonimir director program a rrl gv answers. give rarely can that provoked the most the provoked that Festival

year of form a identifying - Queer Zagreb Queer into an “editorial” at “editorial” an into children” of its adult its of children” - old organizers “ organizers - child: unsure unsure child: he path they path he isunderstood of of confident rs and arts (2005a, (2005a,

can be be can when when do do

CEU eTD Collection manifesto year, while the this artists we present reverse quitethe about loudly speak it obligatio to privilege from privacy (enough): provocative politically see they ones the only que the manifesto, 2006 the to According mad is that scene art queer big sufficiently a exists there for search to fifteen financiall times Dobrović of privacy” transgressing of in thereof lack or queerness 2006 in ( “ was festival “ that fact the against protesting force, full with moralizing his to voice gives Gospel Full of Church (Župančić 2005,1) th homosexuality use to hesitate not Ibid. future of our children, city and country, if the support for such manifestations such for support the if country, and city children, our of future dedi dared The choice of the art presented at the 2006 festival is explained in explained is festival 2006 the at presented art the of choice The group second the To Župančić Vatroslav is article the of author The ) . h scn gop f iety ofottoa mnfso includes manifestos confrontational directly of group second The Yet, of spite in such

which . It .

courageous articulations of practices of resistance. This implies that by this point point this by that implies This resistance. of practices of articulations courageous ae hi fsia t children” to festival their cate

editorial, prides itself on “ on itself prides editorial,

partly presents the presents

focused og clue n re t peet t s oen n nra behavior normal and modern as it present to order in culture rough

. the weak and the most innocent” to promote their agenda of “ of agenda their promote to innocent” most the and weak the udd y iy authorities, city by funded

the program provocatively mentions provocatively program the

on presentation of international as well as well as international of presentation on yappealingevents”more similar of manifestos, also belongs that of the of that belongs also manifestos, of (Queer Zagreb Festival 2006a, 3) 2006a, Festival Zagreb (Queer 2008

scandalizedthe F reactions, division between public and public between division Festival n. That which makes us different often forces us to silence, to us forces often different us makes which That n. a selection that raises expectationsraises that selection a

as er art presented at the F the at presented art er exhibiting , and and , 105 fc h ras s in f epi aot the about despair of sign as reads he fact a

cl is o be to aims

h hpes o e th be to happens who

the estival continue. did private private e up of diverse artistic approaches. artistic diverse of up e (Ibid.) work

. The 2006 manifesto 2006 The . “ , as discussed in Section 5 Section in discussed as , the

s of art that deal that art of s fourth fourth scandalized by the fact that that fact the by scandalized - .

models of transgression of of transgression of models

in search for queer “models “models queer for search in estival offers to its viewers its to offers estival

local artists dealing with dealing artists local this text in text this Queer Zagreb Queer

from ”

the pece o the of preacher e

( Ibid.

also also

(sic.) will continue” will Queer Zagreb Queer

, in the form the in , with gender, gender, with terms of the of terms :1) advertising

the those ten ten those .

F estival

.2 2008 . He . ”

CEU eTD Collection theme Festival overarching an define not does however, which, One 4.1.3 aswhile theconstituted radicalfinding action through is art. voice (hetero)no the way, this In normativity. norms, interaction and provocation” eventsthesilence due thirty art tosome thatbreak around challenging of “place a is Festival 2008 The art. through norms oppressive of transgression as claims thattheFestival tendency this counters through manifesto The arts. of sphere the in sexuality and gender with connection in criminality of conceptualizin as manifesto the in postulated 4) polit as crime of interpretation crime of source possible their of context the in issues interesting other and binarism gender maleness, of construction patriarchy, ma the to According transgression. from crime and sexuality .

catalogue Open(ing) e the at offered is affairs of state this to solution critical The economicecologic and in for open(ing)space indirectly. and(…) victims many have which crimes generating them of possibility of context con in epistles) orders, (directives, norms these putting (…) and patriarchy, etc. homophobia, genders, of issues upon touching connection in criminality and queerness bringing to approaches artistic Critical g difference g –

Festival Manifestos that of the 2010 Festi 2010 the of that .

ons f iw that view of points The social issue identified is a lack of exploration of mechanisms mechanisms of exploration of lack a is identified issue social The . ical, ideological, ical,

( Ibid. n opening an :4) iet, h F the nifesto,

val rmativity is presented as presented is rmativity –

106 includes a manifesto a includes and economic” and

go terpretation of crime as political, ide ascrime of terpretation

tuto o mlns, iay iiin of division binary maleness, of struction Ti oes ay e opruiis of opportunities new many opens This . to

sia wns to wants estival beyond

mgnn o nw osblte for possibilities new of imagining

the

(Queer Zagr (Queer -

sa mode usual as other manifestos do. manifestos other as the

- text, a Dobrović editorial, Dobrović a text, nd of the 2008 manifesto 2008 the of nd silencing of differences, differences, of silencing “ open

eb Festival 2008a, 2008a, Festival eb the questions of of questions the f representing of

of identity of – ological, ological,

directly directly I see see I

are CEU eTD Collection the work exciting seeing in interested those to said, simply or, definitions genre content), certain performing of possibilities the even (or performance inter those to experiences excellent audiences Festival to appeal its a festival, 2010 the realize to had team Festival the that troubles manifesto financial and organizational exhibiting as editorial this take are works the in that eight Festival’s seems it Also, years. previous in as together them bringing topic overarching fla and detailed gives two and concerts, three performances, theater and dance ten with event. made explicit. the of organization the when the even trajectories, informing own their follow principles strategies Programming no are there that mean not does spe a to tied not was it since audiences and artists its for horizons interesting open to imagined F the of life the in theme, festival interaction between works theart and audiences focu the asthis cific theme or vision. However, as we will see in the following the in see will we as However, vision. or theme cific Queer Zagreb Queer the thirdstrategy The 2010 Dobrović editorial gives an overview of the of overview an gives editorial Dobrović 2010 The 2010 the as far so In of s self f

- h ognzrs n atsi drco’ faig ad los h sae o the for space the allows and framing, director’s artistic and organizer’s the

evidently

we can interpret can we h

year, there is no need to define queerness and queer art any longer longer any art queer and queerness define to need no is there year,

manifestos we can trace can we manifestos sia, r n lentv srtg o te at f h ognzr ta was that organizers the of part the on strategy alternative an or estival, ttering description of each of these works, without attempting to offer an an offer attemptingto without works, these of each of description ttering

of not having a de taken as belonging to the time/space of a queer festival. Where I still still I Where festival. queer a of time/space the to belonging as taken s I will discuss will I s

catalogue – this sudden change of practice either as accidental as either practice of change sudden this

the program director is certain that the Festival the that certain is director program the ested in seeing shows with a different approach to to approach different a with shows seeing in ested

does not frame the art works in relation to one selected one to relation in works art the frame not does in Section 5 Section in fined theme for the Festival the for fined theme an 107 absence of fear in the face of the prospect of prospect the of face the in fear of absence . - like characteristics is in a narrative of of narrative a in is characteristics like

. 3. The second manifesto second The 3. ”

(Queer Zagreb Festival 2010a, 2) 2010a, Festival Zagreb (Queer “Theater Dance Music” Dance “Theater “ Film program Film chapter (Section 5 (Section chapter o hog i odr to order in through go -

a strategy which takes strategya which takes etvl theme festival - like quality is quality like ” “

will deliver deliver will occurrence occurrence sections. It sections. –

section section

the s not is .1 ), it it ),

art art In CEU eTD Collection manifesto last ambiguous Festival’s of strategy a using as Zagreb route. times, creating of other short fall At strategies their framing, normativity. or intention of in subversive out although signs exit of modality the in functioning its enable audiences the how analyze to try I Instead, see not evalu to attempt to order in employ wo art concrete at look to thesis this insights“ its of character radical the conditions art andcultureevaluating criteriawhen usingas visuality means. performative and visual the questioning t However, o characteristic aw reflects practitionersaudiences and gathered around subversive particular practices. ex be politics and arts Croatian queering In this section, I analyzed I section, this In lct n h tx bt s h efc o raig f ht et ht rae is desired its creates that text that of reading of effect the is but text the in plicit

Nonetheless in identified have I that questioning intersectional The organizers get presented in the manifestos. manifestos. the in presented get organizers queering strategies as a property of any particular group, any artist, or a festival. festival. a or artist, any group, particular any of property a as strategies queering

a b se a a tms rnig bu te taeis f ueig iult that visuality queering of strategies the about bringing times at as seen be can e taeis f ueig r ad iult tn t b primari be to tend visuality and art queering of strategies he rns o te necnetdes f eteis n pltc ta i also is that politics and aesthetics of interconnectedness the of areness te avant the f societal situated lines offlight.situated ,

s uih Butler Judith as

framing each Festival topic topic Festival each framing om i cneto wt sxaiy n gne epeso through expression gender and sexuality with connection in norms - garde

how the art selection and programming choices of the of choices programming and selection art the how In my reading, strategies of queering visuality go toward toward go visuality queering of strategies reading, my In a dsusd fr ntne b Ptr Buerger Peter by instance, for discussed, as , . T . ue Zge Festival Zagreb Queer ate the ate rks, as well as actual festival events festival actual as well as rks, he

(2011) – eoe t hpfl closure hopeful to devoted we

“for it may be precisely the partiality of a text which text a partialityof the preciselymay be “forit distinction

that the manifesto genre creates does not have to have not does creates genre manifesto the that 108

warns, it is ill advised to rely on unchanging unchanging on rely to advised ill is it warns, (

Ibid. The first group of manifestos I identified identified I manifestos of group first The :XX)

– and its usefulness. usefulness. its and

from

. This is why I find it necessary in necessary it find I why is This . raies atss at ok, and works, art artists, organizers,

post - ue Zagreb Queer oils qer r t the to art queer socialist

–

In other wor other In as an occasion of of occasion an as

and strategies they they strategies and y ocre with concerned ly

manifestos manifestos an escape escape an ds, I do do I ds, (1984)

Queer . CEU eTD Collection 5 Section 6 Chapter in analyzed as appro be can space chronotope queer Festival the beginnings, its from that show to aim I Croatia. s this In 4 and voice manifestos queer the that theme, t Festival the assumpt heteronormative through field culture and arts textual the values of mode such but question, in pr art of work the of characteristics outstanding catalogue art the of conventions the follows manifesto Festival cho world, art queer art and topics festival of choice contrary,the manifestorenderedOn the transparent.not are processescriteria and art. queer of field the in player intersectional . esentation often hides the work that went into the production of the a the of production the into went that work the hides often esentation 2

The second group of manifestos employs the strategy of testing the boundaries of Croatianof boundaries strategythe testingemploysthe of manifestos of groupsecond The formulate

Textualizing Textualizing I see an see I cin I ed h mnfso for manifestos the read I ection, .2;

upon which it is based. upon which it

or at the participants’ experiences of the Festival week Festival the of experiences participants’ the at or

defining a radical questioning

opening up opening s for non for ached by looking at the chronotope created through individual art individual through created chronotope the at looking by ached sen by the curator in curator the by sen Queer Zagreb ChronotopesQueer Zagreb of of os I te n Festival one the In ions. ; - (regional) queer art, and centering the Festival as a key cultural cultural key a as Festival the centering and art, queer (regional)

normative representations, audiences and coalitions. and audiences representations, normative t etvls cul eus n negotiat and venues actual Festival’s at of

the interpretative field to the Festival audiences. Festival the to field interpretative the a desire to transgress the norms of the dominant (ar dominant the of norms the transgress to desire a - h value The

ok a ncsiae b sm tasedn ciei o the of criteria transcendent some by necessitated as works

of alleged neutralityart of - the

ju the 109 - know. However, this is not unusual as here the the here as unusual not is this However, know. dgments in space festival the queering of strategies ee ad rga ta subvert that program and hemes aiet ta de nt e te Festi the set not does that manifesto

n ngtain bhn te selection the behind negotiations and . engaged in the construction of construction the in engaged

: the focus is on presenting the the presenting on is focus the : – d spaces ed

as discussed i discussed as rt and the event, and event, the and rt

Festival time Festival – s presents

I as done in in done as suggested n Chapt n - t) world, world, t) works

the the val its its

er – -

CEU eTD Collection year artisticandits political goalsfrom this tot and program its determine to out turn eventually will that notions the translate and define to Zagreb of notion the of questioning the introduce 20 Festival Zagreb (Queer “ as T queerness. regional for searching of narrative terms re queernessis regional placewhere a Zagreb becomes which weekin regional The 4.2.1 Chronotope of art provisionally,are frequently as they and asoften renegotiated just overlap. queer regional through matrix heteronormative activism and art theory, of interface an as conference chronotopes: following textual through versions oftime 7 ue Zagreb Queer . I will not analyze each textualized chronotope but turn now to now turn but chronotope textualized each analyze not will I . xlct e aot t “identity” its about yet explicit is chronotope first hog atsi ad utrl questioning. cultural and artistic through

ee te ou i o hw nul etvl manifes Festival annual how on is focus the Here, rdtoa rls ae o dfnd edr oe. ih u porme e are we programme our With roles. gender defined on based rules traditional from shifts present to activism and theory art, using presents itself indirectly as a festival relating “queer theory and practice”, and se and practice”, and theory “queer relating festival a as indirectly itself presents

queerness

- is a multimedia project which attempts to relate queer theory and practice“ and theory queer relate to attempts which project multimedia a is space that I find particularlyspace significant. that niinn o psil fsia chronotopes. festival possible of envisioning . From its beginning, the manifestos conceptualize the Festival itself as the as itself Festival the conceptualize manifestos the beginning, its From .

Regional ics i the is discuss I the chronotope of regional queerness regional of chronotope the 03a, 4) 03a, Queer . More importantly, More . I peet isl mr a a “project” a as more itself presents It . ness time

pc of space 110 “ queer he very F he end.that learn We the he first he

n retrospect, In . hs i this in Thus, ”. a search for search a

the ; . Queer Zagreb Queer

n te hoooe f eitn t resisting of chronotope the and F I name these chronotopes only only chronotopes these name I estival project is project estival

heteronormacy, which is a set of set a is which heteronormacy, ; tos contributed to this project project this to contributed tos th h frt aiet peet a presents manifesto first the

I identify as important the the important as identify I e chronotope of the festival the of chronotope e three understanding understanding

initial defined

in 2003 in instances of manifesto manifesto of instances

hn s festival a as than manifesto explicitly in intersectionalin estival about is does not seem not does and creating creating and ,

said Queer ts out ts he he to :

CEU eTD Collection thr identities queer awakes which festival cultural a is Zagreb “Queer queerness: to awakening detail Section 5 in arena. public the in visibly works art queer existing already the brings that program arts an by paralleled be can that Zagreb” mean” queer to want We region. the q bewe ways which can queer,in be rightto the have whetherwe question and town this in hidden thinking and expression queer of ways those what out spelling byupon theinvitation theF exhi art visual a and scholars queer of division therebythe way “hidden” a in already is what importing of ambiguity the resolve to choose organizers translating of course the In from. and talking are they local space the in here “hidden”right thought queer and art queer of forms regional exists there that claiming and the art) queer (defining and theory queerness” queer regional over” (…) and “bringing “local invent to need the for arguing both are they manifesto, the In Festival. the through queerness of cultivation and invention double ough art, theory and activism” activism” and theory art, ough In its second year, second its In The

ht neet m i te is manifesto first the in me interests What and humanrights empowe to relevant discussions opening directly are and sexes genders and between relation the on mainly based models social systemized questioning paradoxical utopian move that the organizers enact in the manifesto i.e. simultaneous i.e. manifesto the in enact organizers the that move utopian paradoxical manifesto ( Ibid. .1

:7) . ecie the described

in 2004, in Thus, the conference is to do the work of “bringing queer theory to theory queer “bringing of work the do to is conference the Thus, labor

queer thinke queer .

(Ibid.) estival organizers.

between a conference that brings together international and localand bringsinternational togetherthat conference a between the Festival chronotope is conceptualized as the time the as conceptualized is chronotope Festival the

(Queer Zagreb Festival 2004a, 3) 2004a, Festival Zagreb (Queer The progr The ofrne s bign qer hoy o Zagreb” to theory queer “bringing as conference h mission the iin hwn lcl n rgoa qer r bt crea but art queer regional and local showing bition rs were expected to accompli to expected were rs am of the 2003 Conference will be disc be will Conference 2003 the of am 111

- ttmn into statement

n em o crntp construction chronotope of terms in

h frt f first the sh: “ sh: . Here, t Here, . We are exploring the the exploring are We sia porm the program, estival ueer and what does does whatueerand he self he ring civil society civil ring - perception perception concepts, concepts, - ussed in in ussed space of space

s the is while ted ted CEU eTD Collection funding successful event, the for media Croatian the grow and 2004, in Festival of interest the in found be may needed” and wanted people sensation the a what us doing and gave thing” 2003, “right the of doing viewers and audience the from reactions “The feedback: audience 26 the church the of involvement the of analysis otherness” and differences of fear generalized h (1999) variants many by sexual and gender normative around constructed get identities national post Croatia in practices artistic queer with non to afforded status precarious the construct and inform unde a as perceived existin substantial a into tapped have heterono and queer manifestos. standard the becomes festival” queer biggest F year’s first the of the of omogenization, religious revival, and monopolistic control over media go together with a a with together go media over control monopolistic and revival, religious omogenization,

The success of the first Festival is evaluated by the organizers in subjective terms, relying primarily on the the on primarily relying terms, subjective in organizers the by evaluated is Festival first the of success The George L.George To further complicate the picture is the is picture the complicate further To authorsThe struggle ove struggle - rstanding of rstanding Yugoslavia has to take into account the force with which the dominant individual and individual dominant the which with force the account into take to has Yugoslavia geopolitical relevance geopolitical

critique

Mosse Mosse .

Cota under Croatia d The political situation may have changed for the better since better the for changed have may situation political The

r access to abortion and moral panic over low birthrates, remains current also also current remains birthrates, low over panic moral and abortion to access r of the 2004 manifesto 2004 the of ope crntp, ae o intersectionality, on based chronotope, complex

how nationalism and militarism of militarism and nationalism how rmativity estival, (1985) ing international interest. interest. international ing in the region of Central Eastern Europe Eastern Central of region the in claim

among others.

h ognzr are organizers the , of the the of

have been defined in relation to the 2003 event and that they that and event 2003 the to relation in defined been have f h F the of

uja i te 19 the in Tudjman F estival

, based on their assumption that the key terms, above allabove keyterms,the that assumption their on based , g . The conceptualizing The . estival’s

interest, devote the textual space to what could be be could what to space textual the devote interest,

–

changes dramatically. In the light of the of light the In dramatically. changes in Croatia as well as in Slovenia and Serbia and Slovenia in as well as Croatia in intensive 112

( ofdnl pstoig hi F their positioning confidently Ibid.

self :132) - 90ies representation in the subsequent eight eight subsequent the in representation

the region’s region’s the revival .

However, Branka Magaš’s Branka However, s h sae n which in state the as - (Poessnecker 2013:1) (Poessnecker omtv o normative of queer of of religious discourses in their their in discourses religious of

(Ibid.) recent history continue to continue history recent of ness

practices, as analyzed as practices, , bringing together an an together bringing

r minority identities identities minority r which from then on then from which -

raising for the second second the for raising in

Tatjana Pavlović Tatjana

the countries of of countries the . Other indicators Other . sia a “the as estival

that we were were we that “

(n)ational success (1999) –

in 26

CEU eTD Collection chronotope the of chronotopes the of activism, hi to try I streets. Croatian of space public the in located visibility, dangerous sometimes of chronotope the as conceived is activism LGBT of field the hand, other the On participants. my with interviews and someho and arts protected, separate, of as culture field the of perception The arts. queer of garden the “cultivating” as mission had analysis manifesto conceptu is interaction this times, At practices. activist and The 4.2.2 Chronotope Festival theand opponents. organizers,for while opinion, publ the and media the by usual than provocative more even perceived was that dialogue the 5 (see Chapter Festival in 2005 discussion the detailed of impact the contextualizing for mind in keep to specificity salient most the constitutes Croatia in Church Catholic the of strength political and cultural intric an constructing politics. powerful here research I decade the in second

The controlling

that bring together arts and activism. One of these is t is these of One activism. and arts together bring that type of type Queer Zagreb F Zagreb Queer

the religious values and beliefs se beliefs and values religious the s hih bt etblz ti dcooos nesadn o qer rs and arts queer of understanding dichotomous this destabilize but ghlight

of of chronotope influence of the Catholic Church both on people’s on both Church Catholic the of influence ate space of visibi of space ate Intersection

shown how at times the the times at how shown estival

– I

identify ). Through Through ). rm 03 il 2012. till 2003 from of Art Activismof and

garden organizers set off from this complicated legacy complicated this from off set organizers lity that wants to question this this question to wants that lity concerns the time the concerns

w “safer” social field is to be found also in some in also found be to is field social “safer” w

113 the and ouig n hlrn the children, on focusing rved as a background framework background a as rved

Queer Zagreb Festival Zagreb Queer stre

n h cs o Croatia of case the In

et , by analyzing variants of festival of variants analyzing by , alized as mutually exclu mutually as alized - space of interaction between arts arts between interaction of space he conference chronotope conference mindsets and on and mindsets religious

Festival organizers see their their see organizers ,

t means it

revival both for the for both nae in engaged sive. The The sive.

toward toward . party

The The the ic ic

CEU eTD Collection 3) 2011a, “ the with connected be to comes spring extension, By Zagreb. in spring of beginning the to beauty of qu chronotopethe of createscontours 2011manifestothe the of personalization the whichway in the is though, here, interested am I What manipulation. textual on bordering strategy, writing reade queer into readers Croat turning and relations, reading queering as seen be can strategy this which in sense a is There us. for here are spring Zagreb the and works art the both audience; Festival. the with relationship intimate an into year mani 2005 the in heard already is also but tone playful the Festival, Though manifestos. Festival the the of scale textual and of smaller a on interesting mission the is that aesthetics and politics of intersection the to rather his in writes Dobrović director program In spring. queer of chronotope the as Festival the conceptualizes manifesto penultimate Croatia in art queer regionally of blooming the as effects its and garden a as Festival th and activism impl time that - - in ications of programming these conferences as occasions of encounter between art, art, between encounter of occasions as conferences these programming of ications celebration of diversity looming over the Croatian Croatian the over diversitylooming of celebration old child, thetone iseven moreold personal here. eer spring. space regional about ofthinking queerness.

personal piece devoted to the F the to devoted piece personal the total of total the h ato dcae ta te iig f the of timing the that declares author The readers as directly us includesvoice authorial the thethat sense in personal is text This will I Te eul iest i seen is diversity sexual The . analyze

oy H eory. four Festival years brought together theory, arts and activism in the same the in activism and arts theory, together brought years Festival four

the r I ere conference chronotope conference un to turn s I aohr es, oee, t s lo casc manifesto classic a also is it however, sense, another In rs. festo, when Dobrović writes about the Festival as a three a as Festival the about writes Dobrović when festo,

how how estival. I find this chang this find I estival. Introduction rm h prpcie f eteis n i located is and aesthetics of perspective the from two 114

manifesto We

in S in

who are reading are the 2011 Festival’s 2011 the are reading are who F

estival to the to ubs cultural scene“cultural (n 01 n 21) construct 2012) and 2011 (in s ection 5 ection

catalogue almost a romantic and and romantic a almost catalogue s symbolic is e in style significant in relation in significant style in e .2 .2 some some

in connection with the with connection in (Queer ZagrebFestival (Queer – “innocent” hetero hetero “innocent”

it brings special special brings it 2011, .

The the - - CEU eTD Collection transgression the of experience condensed spatially and temporally the in is which of power the week festival c is discrepancy This week. festival the of significant festival terms in ofthe chronotope. beginning the with starts context this in be” viewer their for Conversely, audience. the and community the with artists, the with encounter the organizers the For artist. the of that and organizer the of position queer is here important is and the relationship this of side s will they what with “pleased“ connoseurs experienced knowledgeable, the as audience th notice to important is it Here program. festival the interventions“ musica subtle to “ aesth the know th Festival, the at present dreams boththe audience of andnightmares “the audience: the and artists the in equally varied program ranging from strong visuals, energetic performances and intense physicality intense and performances energetic visuals, strong from ranging program varied hronotope discussed in Chapter 1 Chapter in discussed hronotope garden s and to a lesser degree for the artists involved, the encounter with “what queer could queer “what with encounter the involved, artists the for degree lesser a to and s h cascl nesadn of understanding classical The S In artists regional and local international, 40 some of description detailed the Before visuality ubs . ( ectio o tr wt, t with, start To etics“ of the Festival and who “ who and Festival the of etics“ Ibid.

l backgrounds, gentle dance and witty dramaturgical remarks and directorial and remarks dramaturgical witty and dance gentle backgrounds, l of the event. of the of norms. This hold This norms. of n 4 n the emphasis in the 2012 manifesto on the chronotope of the Festival as a as Festival the of chronotope the on manifesto 2012 the in emphasis the ) . In C In . .1 - .1

how ato d author e hapter , the manifesto of the last Fe last the of manifesto the ,

the viewers dialogue with the F the with dialogue viewers the e 02 et ons o n motn dsicin ewe the between distinction important an to points text 2012 he ee at the Festival. In Chapter 7 Chapter In Festival. the at ee

5 , envisions it as a short a as it envisions , , we will see in more detail how these promises work out in work outin promises these more see detailwill how we in , rcl cls n h F the on calls irectly s true for the majority of the Zagreb F Zagreb the majorityof the for true s

etvl time festival

and the performersand the 115 aesthetic that plays with the desires, identities, desires, the with plays that aesthetic

will be pleased“ to expect and prepare for for prepare and expect to pleased“ be will

- stival in 2012 is cited at leng at cited is 2012 in stival drc itrelto o te F the of interpellation direct e pc, iia t te carnivalesque the to similar space, - time span sanctioned subversion sanctioned span time sia' adec a expert as audience estival's –

estival organisers' expectations organisers' estival “ , we , hs w those (Ibid.) ,

the event starts well before before well starts event the will attend will .

o ko“ n are and “know“ ho estival participants participants estival

to the “other“ the to t h s . What . estival

“who –

a a

CEU eTD Collection of text The paradoxes. without not is F the 5) 2012b, Festival Zagreb queer” of meanings future all for search to deed and word thought, with continue legitimately meet to own assessits theproject can speaker the eulogy, a of logic the with accordance in way, This politics. and art queer of explorations the for step first necessary a as manifesto first the in/by introduced is that is What Zagreb. in “bringing” of politics the stake of reaffirmation the is point at this at interesting ending provisory a therefore and places new in queerness of beginnings celebrates that program ambitious an into transformed gets interest curatorial time the rhythm” “special has Festival last The chronotope. 2012 The time Festival the again represents which chronotope, festival the of yearexperiencedthe actual for aand week bothduring festival before it: strangeness this about me told Dobrović Zvonimir director F the for preparation –

h vees te rit, vn h vlner. o the For volunteers. the even artists, the viewers, the est As the text puts it: “in the beginning it is important to name things things name to important is it beginning the “in it: puts text the As the by up picked is temporality Queer I rewarding. organising for and audience, the for performers, the for performance, yo and immediately y from papers all those away throw can you and deflated, gets all it that after and happens, explosion big that something strange on year one terribly for work a is festival that think I organiser, an As ival organizing team in these ten these in team organizing ival - pc o ngtae ending negotiated of space

aiet i epcal cnend ih h tmoa apc o te garden the of aspect temporal the with concerned especially is manifesto t gives somethingt estival lasts one entire year before the actual festival week. T week. festival actual the before year entire one lasts estival . From within this opening frame, the o the frame, opening this within From . g o. T on. go u u ds ( desk our ad einns I Scin 5 Section In beginnings. and s –

the first manifesto also proposed unearthing “hidden” “hidden” unearthing proposed also manifesto first the some special rhytm happens rhytm some special ... a i wy etvl s ely srne form strange a really is festival why is hat

- years is presented as coming full circle. However, it it However, circle. full coming as presented is years space as a chronotope of “cultivation” of queer art. queer of “cultivation” of chronotope a as space )

A blows up in one week. S week. one in up blows 116

s if a great task was finished, you forget it it forget you finished, was task great a if s objectives and sosuccessful.

last

Queer Zagreb F Zagreb Queer –

which is represented in the manifesto as as manifesto the in represented is which

raies o te te hn, the hand, other the on organizers, rganizational work done by done work rganizational form . estival

.1 (Zvonimir 2010, 7) (Zvonimir 2010, omething similar to one one to similar omething w wl se o thi how see will we , ,

queerness to Croatia to queerness actually actually

manifesto in 2012 in manifesto – . But it is very is it But .

to be able to able be to - he program he

since (Queer (Queer

–

you for for s CEU eTD Collection context. manifesto this 27 conferences programming of strategy the through bridged is theory activism, and arts between relations streets the of politics manifestos in built been has without even queer be to able be will “Zagreb that means, other by go struggleon will and the cultural political claim that well as asorganizers directly implicitly the ending by Indeed, festivals. the through done be to need queer it to next term the planting always are we community local some in queer recognizing of possibility Jerusa F Zagrebcity of the of thequeer whole festival making but u building in engaged also delivering self curatorial for art queer local the of “Waiting” organizers. Festival the by imagined is queerness regional of implications discursive the is point this at out point to important find I What be”. could it “what to only not itself, “queer”, to birth” of void place the implicating communities, local in queer” term the “planting of speaks manifesto last the while recognized be to “waiting” queer of forms artistic regional and local existing therefore

sia i is omtv efc “apl ee after”: ever “happily effect formative its in estival I thank my supervisor Erzsebet Barat for drawing my attention to these important implications of the term in in term the of implications important these to attention my drawing for Barat Erzsebet supervisor my thank lem or a Queer Johannesburg it is important to know that with opening up the the up opening with that know to important is it Johannesburg Queer a or lem Up to this point, we have seen how the chronotope of the Festival as a queer garden queer a as Festival the of chronotope the how seen have we point, this to Up not does “queering” that acknowledges explicitly then manifesto final the of end The Simultaneously with repeating the above strategic paradox, the 2012 Dobrović text is text Dobrović 2012 the paradox, strategic above the repeating with Simultaneously

neet f h ognzr ipis o mc o a non a of much too implies organizers the of interest

- the queer art forms thereby vindicating even the arrogant gesture of “giving “giving of gesture arrogant the even vindicating thereby forms art queer the congratulatory curators for positing the –

whether therefestival ornot isa

. As the next step in my discussion of the sec the of discussion my in step next the As nexpected global alliances that should be productive not only of a a of only not productive be should that alliances global nexpected ad oeie opsd o h atvs crntps f LGBT of chronotopes activist the to opposed sometimes and ,

I argue 117

the ht the that

” wiig psto i wih the which in position “waiting”

( Ibid. 27 dichotomy .

:5) quee “ for a Queer Zagreb, or a Queer Queer a or Zagreb, Queer a for .

r, r, creating the “presence” of the ofthe “presence” creating the ue Zge F Zagreb Queer

ewe activism between ond Festival chronotope of of chronotope Festival ond - agentive position, while while position, agentive

ihn n rs festival arts an within Zagreb Queer estival arts , oa and local ” ( Ibid. the ,

and and ) . . CEU eTD Collection 2009 catalogueas presents it South and Central in migration perspectives: “New entitled Zagreb(Queer Festival 2005a,59) ri the especially rights, children’s queer the understand “to and influence’” ‘queer from children ‘protects’ Institute Goethe three the to devoted was festival Center the at Network” Cultural Gay and Lesbian “International entitled gathering activist and the at held Zagreb Queer festival, arts performative and visual a as itself profiled strongly theory explore to opportunities provided that regional art queer that art the of theory queer and practice relatio the reflects chronotope conference This place took program the of part was that conference third The the in described as theory”, queer on conference “second The h smoim oue o one on focuses symposium The productio Western on focus and challenge which lectures interdisciplinary with symposium international an

and arts. The Festival took place for five days, from 25 from days, five for place took Festival The arts. and In at the end of the Festival. The practice of programming conferences as part of the arts the of part as conferences programming of practice The Festival. the of end the at continue

the first Festival year Festival first the s

Goethe Institute Goethe festival. Here I focus on analytical negotiations concerning the meanings of of meanings the concerning negotiations analytical on focus I Here festival. decided to include a three a include to decided

d hs eae t sxa oinain gne iett ad edr expression” gender and identity gender orientation, sexual to related ghts in 2005. One of its main goals was to “understand how and why society society why and how “understand to was goals main its of One 2005. in

in three other F n of knowledge on the background, dynamics and effects of migration. of effects and dynamics background, the on knowledge of n bringing together of art and theoryandbringing art togetherraised inthe of manifestos. - -

day as realized partly through organizing academic conferences as part part as conferences academic organizing through partly realized as

at the beginning of the Festival the of beginning the at

o dsusn o “eeoomtvt o Cidod” t the at Childhoods” of “Heteronormativity of discussing of s in 2003, the manifesto created an interdisciplinary chronotope interdisciplinary an created manifesto the 2003, in estivals come. to .

- ie mda rsnain n rcpin f migrations of reception and presentation media sided post - day international conferenc international day - socialist queer identities queer socialist 118 nship established by the Festival between (art) between Festival the by established nship

, and another two another and , - Eastern European region”. The The region”. European Eastern th

till 30 till at the 2009 Festival and was and Festival 2009 the at

the , partly through mixing of mixing through partly , 2005 e called called e th raies f the of organizers

of April. Although it it Although April. of etvl catalogue, Festival - Cheers Queers Cheers day theoretical day

MM first

CEU eTD Collection of sexual andgender across and regions, provided“opportunity minorities” these anfor the emancipation on“different andregions mechanisms discussions forms for in twodays of the ArabIt World”. broughtac together End: Emancipation ofandGender Policies Sexual inthe Balkans, Minorities Caucasus and ambitiouslyconceived conference of entitledtheBeginning “End was betweenacademic, andarts influences activist h program. arts queer the visit to audience conference the as well as conference the attend to audience – mainstream questions queer with dialogue the in brought were lecturers most of approaches studies hand, migration other the On studies. migration contemporary of field the in work and theoretical include to extended are manifesto 2009 the within conceptualized as queerness of meanings the way, this In program. and catalogue 2009 the in place textual migration mainstream studies, withonly presentationabout talking queer one migrations. the within from discussions the presented lectures the of majority the and institutions, cultural other three and Festival the of coproduction a was conference programmedascan what be the scopeof broadening to openness extraordinary an is here notice to important is what However, detail.

hog te rmn ta md te pr o a ue eet ad en and event, queer a of part them made that framing the through The last instance of what IThe lastinstancewhat ofas take thestrategyofstaging border Stil 5.2.2 Subsection In being policies migration the on as well developed as countries receiving of perspective the from l, even without mentioning queerness or queer pe queer or queerness mentioning without even l,

(Queer Zagreb Festival (Queer 2009a,58) , the lectures and events of the 2009 conference are discussed in more in discussed are conference 2009 the of events and lectures the , tivist organizations fighting inthese organizations tivist homophobia a salient discussion within a queer festival. 200 a within queer The discussion salient 119 appened at the last Festival in 2012.TheFestivalappened at the last

rspective, this conference found conference this rspective,

- exchange meetingexchange –

Beginning ofthe couraged local queer queer local couraged

activist

its its 9 CEU eTD Collection programme Zagreb’s childhoods these influences of questions Queer the of Most them. of all on imposed been have childhoods heteronormative less or more and invisible, made are they if even exist kids from sexualit queer the exposes It common childhood. of understanding normative of territory “sacred” and tabooed interven queer of instance actual an with grapple to on moves and given as it takes manifesto 2005 the Croatia, in mean should queering its and heteronormativity against children by societyare that ironic is It (…) children. for environme safest the as presented being are that norms spreads it and multiplied is matrix lives: children’s F the of focus The is manifesto traditiona of “matrix” the 2005 to resistance of space marginal ambitious as the presented in imagined chronotope The Childhood”. of “Heteronormativity manifes the in visible time the as Festival the depict manifestos The 4.2.3 and radical religious doctrines” reflection onactivist work Instead of the the of Instead

third Chronotope of ResChronotope of - sense perception of childhood as time of innocence that is in need of “ of need in is that innocence of time as childhood of perception sense

chronotope “ Through educational institutions dealing with childhoods, the heterosexist heterosexist the childhoods, with dealing institutions educational Through est y normative this protectio posits and is srtg of strategy first ival is argued to be examining the “heterosexist matrix” that colonizes that matrix” “heterosexist the examining be to argued is ival

ht neet m i ti s this in me interests that istance o f the of to

in the context ofdistinctin the context post tensions, nationalist

perceived asperceived (Queer Zagreb Festival 2012b,54) Zagreb(Queer Festival

hs kns Sc) f rmtn ad xriig violence exercising and promoting of (Sic.) kinds these

hr Fsia i 20 dvtd o h tpc of topic the to devoted 2005 in Festival third manifestos’ rather abstract move to define what what define to move abstract rather manifestos’ have on the clients of heteronormative upbringing heteronormative of clients the on have - space of resisting the heterosexual matrix. This is This matrix. heterosexual the resisting of space protection 120

ection concerns the ways in which the the which in ways the concerns ection ”

(Queer Zagreb(QueerFestival 2 n as itself violent and harmful: violent and as itself .

tion into the highly the into tion

- war conflicts (Sic.) 005a, 5) l upbringing. l

protection” raises the the raises

“ Queer Queer .

nt nt –

CEU eTD Collection beginning ontheof focus chronotope that totalizing the waysFestival inwhich time together activism, arttheory and Festivalwithin time try tobrid LGBTis oftenpresentedIn tothe street of as opposed struggles politicalI activism. step two, was alreadyby thereanyway andbut needed cultivating organizers artists. moves.in two chronotope social movements' and free legacy spaces encouragingactivist dissent. artistic and society withlegacies struggling of religious depth themanifestos in chronotope of i space tothe Festival. inconnection discussio arti polyphonic in brings that program Festival’s 2008 the from inferred be can chronotope queer a is organizers, Festival the to according art, through dissent voicing intellectual sedimentation to leading resistance in seen also children

their textual representationtheir textual oftime Through analysismanifestos ofthe the In s this The ” n, as discussed inSection 5

( ge divide throughofthe false that this conference brings discussion chronotope heterosexual matrix Ibid.

of strategy the 2008 manifesto 2008 the the Step one Step ntersectional negotiations ofregional queerness.ntersectional ection, I ection, analyzed ) .

Festival astime

textual imagining of the Festival week Festival the of imagining textual

as as moemn: Qer arb s poet gis siiul and spiritual against protest a is Zagreb “Queer empowerment: establishes h – an

a silentconsent” protest against intersectionaland of time a space post .

- . This text This . space

the ways representabout inwhich manifestos time andtalk - space contact betweenactivism and of theory isdiscussed The first chronotope analyzed firstThe chronotope .1 ow the Festival interse

. of regional queernessas of presented is -

space of the Festival shifts each yearspace the Festival from of each shifts

builds an image of the Festival as the as Festival the of image an builds conservatism ctional 121

exploration of what constitutes regional ofexploration what constitutes hasasgarden been a queer styled that - Queer Zagreb Festival Zagreb Queer space.

and a machismo butwith strong

(2008a, 4) (2008a, The

as a chronotope of resistance of chronotope a as This chronotope isgivenThis chronotope third chronotope concerns chronotope third I conceptualized - conflict, transitional conflict, . That the time . That

stic voices into this into voices stic This queergarden opposin , I

have have time the The as the g suggested - - a space space of space of

second

of of is -

CEU eTD Collection field, particularlyinstitutional funders. the Festival manifestos. Festival in visible become actors opposed mutually times at and diverse these with relationships of negotiations th on context, institutional its and side, one of negotiations of terms in field cultural The 4 regional as bringingwell queerness, with incontact it as become forchronotope questioning articulations anexhibiting and theartistic important of F queer/LGBT Croatia and movement thepost in develop a the“wave” queer engagementas in arts its ongoing visual festival ofthe unexpected and fruitful alliances whileitlegitimated at time, festival the same the project. bringing and art interplay theory,activism into queer Festivals,at fourpossible made thewavecontribution to o transnational questioning artistic forum tothe more for account Festival’s grounded of queer self through art confident . estival 3

hr giig usin f hs c this of question guiding third “Inventing” W ’

ext relationsh s hile theorganizationalgo ended artisticand its andplayfulness, political ambitions ip with (1) audiences; (2) (2) audiences; (1) with ip

the Audience f queerfestivals

Ion focus - representation Festival regional ultimate ofthe asthe and als and ambitions changed, ambitions F als and the , Inviting hapter the the .

The conference chronotopeconference enabledThe which

organizers with the with organizers el wt the with deals manifesto construction of three sets of relations of sets three of construction manifesto 122 -

ohr Hr I nlz hw organizational how analyze I Here other. e Yugoslav region. the Transnational ArtWorld

international arts festival festival arts international transnational

ucinn o te etvl in Festival the of functioning ( local As the estival continuedto the Festival itself the

current )

LGBT community, on community, LGBT Queer Zagreb s. circuit

; and (3) (3) and ;

had

its –

CEU eTD Collection and arts Zagreb mainstream of mainly constituted other the audience, Festival the of part well aseyes all(queer)Be inourcinemas. withQueerZagreb blinking again!” b will that bodies (queer) all to forward looking is FM Zagreb “Queer encounter: arts intimate almost an to them inviting Festival t the of end the towards playful more grows Zagr the at art queer following to dedicated viewers of number such With organize. they events year second this in already exists that relationship establishes thelocalregionalFestival. and standing ofthe 3) programme” challenging more even an create and continue to us gave events festival all to devoted audience large Our general. in culture queer the globally F the as well however belon their to claim audience manifestos. the in represented as audiences, The Festival4.3.1 Audience in Manifestos .

hs self This is st f relations of set first As special a to as well as audience”, “large a of existence an to claim lays also It t Already : “Many spoke of thefor Zagreb, importancetheregion the Croatia, for: “Manyof festival spoke of and , s – this does not preclude them from appealing does precludethis not them from

remains one of the main strategies through which the which through strategies main the of one remains will be will “ Film - fimto o te Festival’s the of affirmation estiv he he ”

analyzed in S in analyzed al and and second Festival manifesto in 2004 2004 in manifesto Festival second ’ ig o h lcl n rgoa LB co LGBT regional and local the to ging cnrbto t te eeomn o qer utr i te ein and region the in culture queer of development the to contribution s “ Music

a interested am I e vibrating in the rhythm of the music presented at the festival as festival the at presented music the of rhythm the in vibrating e ” ection 5 ection Te ey at aarp is paragraph last very The . a tog li ta etbihd h eitne f large a of existence the established that claim strong

. 3, the LGBT community members make up just one just up make members community LGBT the 3,

in concerns the Festival’s relationship with its its with relationship Festival’s the concerns in success at the beginning of the manifesto text text manifesto the of beginning the at success Appealing to an especially an to Appealing 123 x ta peet te w scin o te 2004 the of sections two the presents that ext

– to the straight a

hi aud their pas fis “devoted” its of speaks

( eb Festival, the manifesto tone manifesto the Festival, eb aimed at their viewers again, again, viewers their at aimed mnt. On mmunity. Queer Zagreb Festival Zagreb Queer ec i “eoe” o h art the to “devoted” is ience Queer Zagreb Queer rts audience also

close r close

h other the (

elation to elation organizers lay lay organizers Ibid.

uine as audience, ) . .

strength

2004a, 2004a,

hand, hand, their

CEU eTD Collection but still te planted, strangely ambiguous, an remains forwards and (“all”), everybody towards backwards both influence its exerts brackets the in queerness the placement, such through for containing a as visually function that inthe partqueernessisenclosed bracket of itsviewers in this ofthe text, in whichthe Festival queerness placed. of is a participants Festival is queer The political action of basis what altogether, identities with away do we if situation: a such about precisely asks theory queer in debates contemporary move this extent, certain a To festival. arts queer the in participating of act the through just queers into visitors Festival all turns it because ambiguous is gesture textual chr 2004 Zagreb Queer the in participate to eyes” (queer) all as well as (…) looking queer and exclusivelygay andcommun the lesbian towards Film Lesbian and Gay of Festival is audience loyal its into audience high provocative see to audience mainstream the invites visitors goers. culture invit manifesto the of ambiguity of pole second The queerness also includes move, ambiguous an in manifesto, 2004 the But

– –

asa fits “queer dilemma” the m the This is an important context for reading the 2004 manifesto appellation to its to appellation manifesto 2004 the reading for context important an is This remains anifesto in fact affects the double move to both of its audience segments. It segments. audience its of both to move double the affects fact in anifesto ce, a mild kind of a closet, of its impact on their bodies and eyes. and bodies their on impact its of closet, a of kind mild a ce, –

into the whole of their audience: the manifesto invites “all (queer) bodies (queer) “all invites manifesto the audience: their of whole the into

- at ourdisposal. at art cultur art - al events. Indeed, its strategy of incorporating of strategy its Indeed, events. al

“all (…) bodies”, and “all (…) eyes” willing to pay a ticket ticket a pay to willing eyes” (…) “all and bodies”, (…) “all - successful

n jbjn wih ret itself orients which Ljubljana in curiously scattered and in need of definition. curiously scattered and ofdefinition. inneed -

what G what – rm. Here rm.

124 , which differentiates it differentiates which , oad eeyoys ois n ee, tl i still eyes, and bodies everybody’s towards amson

ity .

, the term “queer” is all over the place, the over all is “queer” term the ,

(1995) ation is to be found in the brackets the in found be to is ation

formulated as “queer dilemma” dilemma” “queer as formulated , for instance, for , (intentionally) intervenes into the the into intervenes space onotope. This This onotope. the non the –

queer being being queer

Although Although from the the from

and still and still almost - queer – t

CEU eTD Collection years,in other a is globalFestival context the transnationalnetwork ofexchanges. numerous through as well as place taken have that changes aes art, combining program su a as manifesto su 2007 The art. queer regional and local the of world the and world art (queer) international politics; of proud F the anotherse brings differentmanifesto emphasis that in sets asomewhat circuit. festival arts international the including The 4.3.2 Festival CircuitManifestos in second set of relations of set second estival ccess story of international arts festival cooperation festival arts international of story ccess self very manifesto This

experiences and impulses international many In used which created contemporary.were programmes Berlin and London more it make and cooperation it of redefine point to further language, crossing and Croatia interesting from an Artists fe the allowed (…) have countries so or thirty as contents relevant recognized socially and been art aesthetics, has Zagreb Queer Lastly, ai itretoaiy f h F the of intersectionality matic

its three accomplishments three

role – ccinctlyaccomplishments: enumerates these landmark

the international arts festival arts international the

in queering Croatian art, and the F the and art, Croatian queering in htc ad oiis Te ie er o eitne lo fr vlain of evaluation for allow existence of years five The politics. and thetics s

ih etvl ad ntttos rm oy, e Yr, a Paulo, Sao York, New Tokyo, from institutions and festivals with

concern t concern international in the Croatian public, Croatian the in - : F : . consciou

(2007a, 1) estival’s fun estival’s

hose with the transnational and transnational the with hose sly presents its investment in styling in investment its presents sly collaborations. estival as the conceptual and actual space for for space actual and conceptual the as estival circuit. The circuit.

125 ctioning as ctioning stival to introduce the term queer to the local local the to queer term the introduce to stival

o a So, estival as the space of coming together of of together coming of space the as estival in relation to queer art and artists locally artists and art queer to relation in te cain f h 5 the of occasion the t

2007 “jubilee” manifesto is especially is manifesto “jubilee” 2007

In this, as in most of t of most in as In this, . It . a

point of int of point also

Croatian and regional queer regional and Croatian

insists on the practical and practical the on insists t of actors important for importantactors for t of international art world, art international ersection of art and art of ersection th Queer Zagreb Queer he manifestos he

etvl the Festival,

CEU eTD Collection with relations Festival’s the in tensions the to testifying sarcastic, exceedingly is editorial auth local the of attitude unsupportive the to attributed is funding of problems the on manifesto this in insistence the elsewhere: located is identified audience. eager and program strong a with festival, established already arts. the for support state funders local with relationship in problems avoid thefuture.should in tongue a in donors international and local to of sense the also but world, funding the to relations secretive the transparent make to dare that strategies organizing queer on Fairytales Embassyand US inCroatia” project), Reiffeisen Rights, Human for Office Government Zagreb, in Commission European of Delegation by: rejected was project Zagreb “Queer reads: text The institutions. unresponsive with relation organizers’ of characteristic gesture ironic an is Funders Collaborators the to devoted are pages eight funders the and state the with relations Festival’s particularly field, institutional the of negotiations Festival’s The 4.3.3 Instit careful readers or representatives of those institutions. Its tone reflects the playfulness of of playfulness the reflects tone Its institutions. those of representatives or readers careful third set of relations of set third lo n h floig er, h Fsia mnfso ocsoal cmet n the on comment occasionally manifestos Festival the years, following the in Also is text The . Squeezed in between the between in Squeezed . ut ional Field Manifestos ional in

hr to ae wt the with pages two share –

both national and international. international. and national both inconspicuous

of interest here concerns the ways that the manifestos present the present manifestos the that ways the concerns here interest of For instance, the text of the fourth manifesto in 200 in manifesto fourth the of text the instance, For

entitlement of the organizers who do not miss a beat in signaling in beat a miss not do who organizers the of entitlement

Section called “Big Thanks”. “T Thanks”. “Big called Section , not highlighted in anyway, in highlighted not , Impressum

Impressum 126 –

and thanking the the thanking and - with especially critical tones reserved for the the for reserved tones critical especially with in (Queer Zagreb(QueerFestival 73) 2005a,

- he mne te id f ramn they treatment of kind the manner cheek At the end of the 2005 Festival cata Festival 2005 the of end the At

and thirty two colorful logos of the the of logos colorful two thirty and orities. The tone of the Dobrović Dobrović the of tone The orities. Bank, Ministry of Culture (Queer Culture of Ministry Bank,

and yet bound to have an effect an have to bound yet and Collaborators hanks ”

to the to The only problem problem only The ,

is a text which text a is Sponsors 6

presents .

logue, logue,

and

an an CEU eTD Collection in Croatian. giventwice mistakenly, text is, the catalogue, 2006 in the However, English. in and Croatian 28 source of and 2003, in year first the in that suggested other the on field, institutional the and side, one the on community, f queer The world, festival arts the to belonging their audiences, their any the program” segments of the lose to not us for possible it made that Foundations based US several from came news good 2010 in and cut” been has sources, main our of one Zagreb, of City the from budget our of third a that out found auth city the by granted money of amount reduced the about Festival the of beginning the before months several only out found organizers the when ran Festival T manifesto. 2010 the in found be to is authorities independent cultural anddue project t bu funders, cultural local

My translation. This is an exception since all of the Festival catalogues bring the introductory text both in in both text introductory the bring catalogues Festival the of all since exception an is This translation. My In this s this In local the toward directed tone critical haughtily almost the of instance Another named was Festival the omen, est nomen “queer” when, moment very the in meaningless became universe, (heterosexual) the within pol orbit the on position own their calculating tragic of tombs those Reaching Zagreb. Queer the of malnutrition financial further about bureaucrats stuffy of rumors new ever thereare institutions, state and City the of couloirs windy the from

its its (2010a, 2) (2010a, community estival field of action has been theorized as involvement with the LGBT LGBT the with involvement as theorized been has action of field estival -

the manifestos represent the Festival audience as in the process of “invention” “invention” of process the in as audience Festival the represent manifestos the 28 s etvl air: “ saviors: Festival as ection .

(QueerFestivalZagreb 2006a,8) . The foreign funders, in contrast, are always presented always are contrast, in funders, foreign The . , I legitimization have have as t a self a to also t

that analyzed

immediately from 2004 on 2004 from immediately itical just as we were days away from reducing the program, program, the reducing from away days were we as just (

o this, morally superior to local institutional norms: tolocal morallyo this, superior institutional Ibid. . The communities the ways in which in ways the - bureaucratic mathematicians, who are constantly constantly are who mathematicians, bureaucratic ) .

127 - presentation

he 2010 editorial reports on the risk that thethat risk the on reports editorial 2010 he

on whose support

and

the Festival manifestos ta manifestos Festival the that locates the Festival as an an as Festival the locates that they refer to it it to refer they to the larger institutional field institutional larger the to (Gamson 1996) (Gamson rte i 21: “we 2010: in orities the Festi

in po in as an important an as sitive light, light, sitive val lk about lk . I have I .

draws draws

. CEU eTD Collection state. community queer transnational Croatian finances, for negotiating i hand, other the On status. outstanding of proof a as and success of story seamless a almost as manifestos in presented collaboratio international audien twofold are

ce, The relationship with the institutional field is similarly multiple. multiple. similarly is field institutional the with relationship The

iy and city as I discuss will –

h lcl n rgoa LB cmuiy ad h Zge ubn art urban Zagreb the and community, LGBT regional and local the tt f state ns with other festivals, with artists, and even with foreign funders, is funders, foreign with even and artists, with festivals, other with ns unders.

in eonto ad cetne n the in acceptance and recognition Section

n at audience arts and T he Festival seeks legitimization through ties to local and and local to ties through legitimization seeks Festival he 5 . 3.

te aiets w ha te ruld oe of tones troubled the hear we manifestos, the n 128

, but

maintains

cultural space space cultural a critical The representation of of representation The

oe oad the toward tone n eain to relation in the the Festival’s - going going

CEU eTD Collection 5 chronotopes Festival programs Festival annual creating of strategies questions these of each around action of sets different of basis arts post and Yugoslav of legacy the to relation direct in them bring would the as function to strategies Croatian the of strategies organizationalthat strategies st use times at organizers ma claims manifes the of team organizational the of members In PROGRAMS 5 .3

. Allthosethree are issues te this this . In analyze. IFestival whatwill the follows, organizers’ qu of strategies staging SUBVER - My c current The

tos get translated into actual F actual into translated get tos c in order to pay more attention to actual organizational choic organizational actual to attention more pay to order in F the hapter cultural institu cultural

e n h mani the in de focus is on the strategies of the of strategies the on is focus estival’s annual program. T program. annual estival’s

QueerZagreb analyze I

issues IG H COTA MAINSTREAM CROATIAN THE TING

atr rvds h aayi o te rgamn of programming the of analysis the provides hapter in Section 5 Section in – tions rategies of queering while at other times they times other at while queering of rategies

selection process and criteria, chronotopes, and Festival and chronotopes, criteria, and process selection

f h pormig taeis f h porm ietr n other and director program the of strategies programming the so ag estos . I shall argue that the organizers perceived their organizational their perceived organizers the that argue shall I . stren subversion

organizers that aimed, from the very beginning, at queering the queeringthe veryat the beginning, fromaimed, that organizers sted againststed .

I g .2 ohr od, i words, other n then , and the struggles in the org the in struggles the and , a inst inst estival programs and so reflect on the validity of the the of validity the on reflect so and programs estival

their standinginthe

he analysis of the programs is clustered is programs the of analysis he of the Croatian and the regional art world and that and world art regional the and Croatian the of

t Queer Zagreb Queer

e cul programs. actual he the source material Queer Zagreb Queer 129

n eto 5 Section in t n e following he F

estival organizing team organizing ( mainstream of the .1 I . anizational field in Section Section in field anizational

poess f negotiating of processes , I want to examine how the the how examine to want I I ou o tre issues: three on focus I , suggest

es and aims that emerge emerge that aims and es Festival’s

make use of traditional of use make - Yugoslav avant Yugoslav )

art

F :

t those those hat primarily on the the on primarily world. ten programs.

around three three around h Festival the ESTIVAL eer art. eer subversive subversive ’s

il of field - garde

CEU eTD Collection the from decision However, curators. international queer selected or intersectional of practices curating on books world art contemporary of the curator contemporaryhigh fol the for program a together putting home back team organizing his with together and skills in being shows, the watching circuit, for disposal considerableat his budget if problematic remains think, self as theorized program. the on gets who decide to power the has selector festival professional a where programming of the meaningsconcept organization andof“queer ofthe the art” with. works it politics the for negotiations practical of processes these of implications the analyzeI program, pr criteria, selection the at looking proce the with deals a artists invite to how program, the divide to how on Iargue manifesto’s claims, program the as far so In 5 . 1 oig year lowing

n te art other In the at process selection The theNegotiating Queer Program - making, of cultural capital cultural of making, Although contemporary programming and curating are increasingly practiced and and practiced increasingly are curating and programming contemporary Although - as . - - artist Art critic Hans Ulrich Obrist Obrist Ulrich Hans critic Art elxv ciia practices critical reflexive - - art curating as artistic practice in itself, practicein itself, ascurating artistic art rtcl writings, critical sses of negotiating the annual programs of the the of programs annual the negotiating of sses .

- eiit on o ve, h acmlto o power of accumulation the view, of point feminist –

such as in as such of the the of that intended the program is doing this work of “defining” of work this doing program is the F estival – -

Carolee the curators are presented as star star as presented are curators the ogramming processes, changes and reactions to the the to reactions and changes processes, ogramming ue Zge Festival Zagreb Queer

the travelling around the world on the international festival theinternational festival world on the around travelling in the hands of one person one of hands the in for queering purposes. queering for - know, and based on his professional arts selection selection arts professional his on based and know, can be seen as the actual practice, enacting the the enacting practice, actual the as seen be can

130 ONil 07 7) 2007, (O’Neill

Thea’s

(2008)

(Thea 2001; Thea and Micchelli 2009) Micchelli and Thea 2001; (Thea nd works to the Festival. This s This Festival. the to works nd

and ocpulzs t conceptualizes

In this model, the selector has a a has selector the model, this In

follows the model of festival festival of model the follows the figure of the curator as that thecurator as figurethe of the ,

in Zagreb this model seems model this organizational practitioners Festival. Through Through Festival.

through he practices of of practices he

–

financial, oe, I model, deciding deciding

of the the of ection rather

CEU eTD Collection under festiv arts contemporary prestigious a culture, high of event an as Festival programs or “master’sLorde’s inAudre tools” and mainstream the queering as see I What privacy” and expression personal of measure some for need its and elitism, inherent its public, large a for t describes instance, programming F Zagreb traditional non connoisseurship” 35) 2007, v director program value makingand decision artistic all of thepower queer.model itselfisnot avant of elements contain that works art edge innovative. than traditional and elitist sa clue the culture, isual ganizers - transparent the sign of queerness. Second, F Second, queerness. of signthe t hs on, e m rve te an taeis f the of strategies main the review me let point, this At the of only characteristic not are connoisseurship of practices curatorial The contrary, the On estival

understanding understanding – n re t etbih hm s h itrrttv cnet o te a the for context interpretative the as them establish to order in

s h mto o aayig iult ta relies that visuality analyzing of method the as (

practices, have been frequently accused of elitism. elitism. of accused frequently been have practices, Ibid. atclry questionable particularly , of course of , (Ibid.,

– . First of all, the F of all, the . First and a small circle of his immediate collaborators. immediate his of circle small a and

“good eye” approach in Irit Rogof’s terms terms Rogof’s Irit in approach eye” “good :15) has been critiqued by Gillian Rose Gillian by critiqued been has he interwar transnational poetic avant poetic transnational interwar he , 35)

professional programm professional and

both .

- The “good The

as high art and even avant even and art high as names of subverting

art (2007) estival is conceptualized and realized in its actual its program estival and conceptualized in is realized -

historicaland approaches, its practices “elite ‘fellowships of discourse’” discourse’” of ‘fellowships “elite practices its

estival organizers equally put together a program that is programthat a equally together organizers put estival Although this Although - eye approach” criticized by Rose forms the basis of of basis the forms Rose by criticized approach” eye

n h cs o te arb etvl is Festival Zagreb the of case the in words. words.

htr)omtvt while (hetero)normativity 131 - ing, as practiced at the Festival, concentrates Festival, the at practiced as ing, garde as well as queer art, art, queer as well as garde

judgments

model

(2007) - garde art, and related curatorial related and art, garde - garde as “caught between its desire desire its between “caught as garde

enables programming of cutting of programming enables

in the hands of the person of the the of the person thehands in

on cultural capital and “visual “visual and capital cultural on as elitist and methodologically and elitist as of Rgo (98 1) n Rose in: 17) (1998: (Roggof practices ofcurating.practices ee Strong Beret l u oe ht operates that one but al

ue Zge F Zagreb Queer ntefed f feminist of field the In otnig o s the use to continuing I argue n t msin of mission its lss f the of alysis (1997)

( Ibid. that estival Queer

for , and and :1) the - .

CEU eTD Collection production works art cutting genuine, for looking in is interest his that out pointed and stated legitimization andpolitics cu art” “high program to aspirations that progra festivals queer regional other with comparison g without art body and performance dance, F T Art (High) 5.1.1 Strategy Queering of producing and regionally exhibiting art. queer artfestival during the week queer of flow rich the in Zagreb submerge to order in works and genres, forms, art of mix a estival strategy first he mming or mming 2010, 9 systema about much so not is It A and more of sense the in production stronger a and scene, (art) (…) production serious more of (cultural) productionall theexistent really regardless is What missing, of F The

s petgos etvl f contemporary of festival prestigious a as ll of this until now is now until this of ll iving precedence to either. It is important to grasp this subtle shift in emphasis in emphasis in shift subtle this grasp to important is It either. to precedence iving . In our interview, interview, our In . , particularlyregionalreferring festivals queer to sia porm ietr wie las n omncto wt, and with, communication in always while director, program estival

through lture are analyzed inChapter 1 – 10) their m their

fcs on focus I

the Zagr the ore community ore –

and preferab ,

is eb in fact, more of a community activity than something else (…) (…) else something than activitycommunity a of more fact,in he

. - h ognztoa srtg o poiig the profiling of strategy organizational the

Festival’s

The differences in differences The a cr was and

redefining -

oriented politics oriented W ial dvlpn sm nw aesthetics new some developing tically ly beyond. lybeyond. tcl f h rgoa qer utrl n artistic and cultural queer regional the of itical hat is missing is a more sustained support to that to support sustained more a is missing is hat

connection with the local queer community, often community, often queer connection withthe local . 132

the ( high Third, the FestivalactiveThird, thein an role takes

high art high festivals’

) (and at times both) times at (and because of their low budget for for budget low their of because

. arts

in question in – approaches to regional queer queer regional to approaches

hae, im contemporary film, theater,

better produced work. work. produced better -

edge contemporary edge as queer (high) art, art, (high) queer as

do not have not do ue Zagreb Queer ,

is some kind some kind is .

(Zvonimir seeking the CEU eTD Collection w organizers the provided production limited and efforts communityresources. on only based is it if visuality experimental world. art international Zvonimir F – dif perceived topic, contested a are creati region festivals, by better but Zagreb confronted organizers. the the in culture and art queer of production for conditions difficult of dis post in festival queer only encouraging f support

estival as tinction we will see in the in see will we n g a new aesthetics of queerness of aesthetics new a g more systematic youmore systematic support tohave need support,a of lot in now givefor can region this that maximum mor is It relevant. E example, For know. don’t I festivals, to Belgrade Queer comes it when But queer. with connected art are there region, our som mean would that visuality new some but aesthetics else. somewhere I that afraid am I M a As h frt organizational first The

is one of the major cultural projects that generat that projects cultural major the of one is verything looks, how looks, verything

rsac i gone i the in grounded is research y r ue cultu queer or

talks about the search for the “new visua “new the for search the about talks

for the Zagreb Festival is performed indirectly in the interview, through a critique critique a through interview, the in indirectly performed is Festival Zagreb the for

and sustain and professional

interview analysis in Chapter 7 Chapter in analysis interview – ing However, he is also acutely aware of the limitations to this kind of kind this to limitations the of aware acutely also is he However, e n Croatia, in re I still still I

the problem there is the same as in Cr in as same the is there problem the see - ith an opportunity to approach queering approach to opportunity an ith o a community a of e Yugoslav region Yugoslav festival

queer art. queer

mostly the copying of something which has already been seen seen been already has which something of copying the mostly I s I do ists ists

hould strategy not really s really not ferently by festival festival by ferently (…) raie, Zvonimir organizer,

However, he sets apartthe sets he However,

des

who create out of their identities work that might be might that work identities their of out create who n te ad work hard the and regional queer art. However, its meanings and forms and meanings its However, art. queer regional

yohss ht post that hypothesis cribe it, as a workshop product; workshop a as it, cribe of successful in “queering” in successful 133 - ee naeet (Sic. engagement ue Zagreb Queer

some lity”

this area. F area. this . What is clear is that is clear is What . organizers thing

s wr o te ak f consistent of lack the of aware is e this new queer aesthetics. I aesthetics. queer new this e that would be in dialogue with the the with dialogue in be would that

local local

of raies ht discuss I that organizers - Yugoslav

oatia: the level of production. of level the oatia: tig Ti i, tik the think, I is, This thing. ) ething in a wider context. wider a in ething or anything more serious and serious more anything or Queer Zagreb Festival QueerZagreb

. regional and and

(that is) (that

( the high art spaces from a a from spaces art high the Ibid. ( by artists artists by h igh) igh) :10)

queer qu it is not artistically not is it really new. (Not) new. really

the

art. e fsias on festivals eer

, affecting all all affecting , and audiences and Queer Zagreb Queer

Claiming this this Claiming festivals festivals ndeed, ndeed,

as theas

has are I n CEU eTD Collection of the Festivals 2008, in as such years different in program the to sections other also were there of dominance the one dis As community. LGBT regional and institution that performances a ethnicity race, history artist performance USA the by Multi a of “Exposures entitled other in catalogue Festival the from descriptions the “ “ use. in strategy practice. a counts what of nature the on discussions ongoing greater enables ironically, “quality”, framed “ Additional program Additional Dance generous , but

In addition to the to addition In the at attended ever I performance first The a look closer A ” ternet discussions oftheternet discussions f African of s ue wti te time the within queer as , an “

” Clubbing –

“ important, point of view in that the works of art exhibited often come to “be” queer because because queer “be” to come often exhibited art of works the that in view of point

Theater that the Festival the that .

In 2003 then, the program was divided into sections such as such sections into divided was program the then, 2003 In d eult. t a truh hw lk these like shows through was It sexuality. nd “ - prior to to prior Theater mrcn ae ei icons media male American ” ”

” section since 2009, since section ,

. part of theFest part t some of the Festival programs will help us get a sense of this first this of sense a get us help will programs Festival the of some t When describing the works of art presented at the the at presented art of works the describing When “ Film focus on the on focus ” Queer Zagreb Queer , “ won ” Dance , - work prtd Haitian spirited, D - “ appreciation and audience following from among the local the among from following audience and appreciation pc of space Conference red ” ; ival’s audience.

programming and and/or “ . cussed in Section 5 Section in cussed

Film In

“ you could not watc not could you Installations

“

hs un ad poignant and funny this Film ” s the 134

and and – ”

, ” often representing the ar the representing often my experience as amyexperience v as

- festival. The strategy of focusing more on on more focusing of strategy The festival.

Dred Gender American, sections at most of the other Festival years, Festival other the of most at sections “ “ Music

ie presentation Video s “queer art” according to the F the to according art” “queer s reos bt ee sos o encourage to stops never but freedoms,

” ue Zge Festival Zagreb Queer

eosrcs h wrig o gender, of workings the deconstructs and the and ” program ” . 3, this community this 3, h in Zagreb in any other cultural other any in Zagreb in h “ Exhibition –

- at the 2004 Festival, and and Festival, 2004 the at aia gender radical luiaig WoMan©” Illuminating iewer and researcher. iewer dra “ ” g Visual Arts Visual , tist’s statements; tist’s - Festival, I draw on draw I Festival, king ” “

Lectures s constitutes only only constitutes

ection a te show the was “ Exhibitions performative performative - queer art art queer s at most most at s ” estival’s

” section section , and and ,

on ” ,

CEU eTD Collection 2013). site: web Eurokaz the See program. its of part as happenings music the isthat feature shared Another on. so and to Similar 29 problematic seemed se, per heteronormativity question not did contemporary and highprovocative the within work artists these of framing the However, space” basic their as bodies their “using modification, performance art body asB,Annie Franco Sprinkle. and Orlan, Eurokaz festival arts contemporary Zagreb prestigious the Dobrović years. ten festival arts queer separate a for motives initial the addition, In framing. festival art queer and art” “high between tensions the contemporaryarts festival. work of years seven after festival arts queer prog Festival the with interview early an to refer I queering, of need in so and art queer of perspective the from “normative” as seen it is sense what in even or queered be art” “high of scene the should why understand discuss to contributes and significance, festival’s “ and queer both of inclusion The country. the in art/culture” “high queer so and reconfigure festiv queer a of context the in artists renowned internationally of performances o first the as identified have straight

T he International Festival of New Theater Eurokaz Eurokaz Theater New of Festival International he

hs promr, mn ohr, ae eouinzd n rdclzd h gne of genre the radicalized and revolutionized have others, among performers, These I T

” propose he program of the 2006 2006 the of program he Queer Zagreb Queer when the festival featured ra featured festival the when

high art in art high

that the motives for starting a queer arts festival in Zagrebtel in festival arts queer a startingfor motives the that , it presents a mixture of genres genres of mixture a presents it , 2005) Klasje (in a

queer festival enriches the actual works of art in the given genres, the the genres, given the in art of works actual the enriches festival queer –

rnig n otoesa rdcl rcie o bd ha body of practices radical controversial in bringing

rganizational strategy rganizational ram director in which he explains his motivation for starting a a starting formotivation his explains he which in director ram

largely continued to frame the F the frame to continued largely ue Zge F Zagreb Queer Eurokaz

dical body art, hosting the performances of artists such artists of performances the hosting art, body dical refers to his seven years of apprenticeship and work at work and apprenticeship of years seven his to refers

also programs lectures and theoret and lectures programs also 135 – is a prestigious Zagreb festival that started in 1987. 1987. in started that festival Zagreb prestigious a is as an artistic programmer at a a at programmer artistic an as

theater, performance art, dance, body art, new circus circus new art, body dance, art, performance theater, Eurokaz estival –

os f eiiin o qer r. To art. queer of definitions of ions one aspect of which consists in consists which of aspect one http://www.eurokaz.hr/

29 s motn fr icsig ht I what discussing for important is , and the turning point at the 1997 the at point turning the and , Ii. 6) (Ibid., - r fsia, w festival, art estival

s orvć explains. Dobrović as ’ ical discussions, film and filmand discussions, ical s politics in all of its its of all in politics s

(Accessed April 22, 22, April (Accessed l a great deal of of greatdeal a l hich although although hich al in order to to order in al mainstream m body rm,

staging

CEU eTD Collection dis about concerns and c art, queer of definition of questions raises framing queer of strategy through interpretable queerly t is work, work art of range the in space queerness for preference the with accordance thus and renders artalso exhibits it theatleast potentially queer. normativity gender and sexual questions that festival the within piece art the of artist, the the of biography the from is work art an of queerness here the evaluating of disengagement emergingconceptual distinction important Another strategies. programming director’s art the trajectoryexplains his thoughtsthe ofandactions in He framing. different radically for need the of awareness his inspired and Dobrović young to nltn qer r ad uel itrrtbe art, interpretable queerly and art queer onflating s cussions in thefieldcussions in of queer v ” into queer art queer into ” hs ocpul dis conceptual This inspiration initial this keep to important is It been reversed i but queer not is which something f The festival. queer a organize to is that like something avoid to way only and years, seven for Eurokaz for worked not possible was it because overlooked silently was aspect I performances. those of upon touch even not did commentators the and audience the of part queer. What

and leaning towards the “queer prism” where the queerness is located in the framingthe in located is queernesswhere the prism” “queer leaningthe andtowards he space of mixing what might be termed queer art, and art works that may be be may that works art and art, queer termed be might what mixing of space he interested

(...)

What struck me was that the majority of the reactions to the shows on the on shows the to reactions the of majority the that was me struck What s

. fes

(Ibid.)

me tival organizing as an important background framing of the Festival the of framing background important an as organizing tival estival I am organizing now is in a position to put into programme into put to position a in is now organizing am I estival in tinction will have influence on programming strategies that, in in that, strategies programming on influence have will tinction

that situation was that the majority of tho of majoritythe that was situation that having having s n the context of Eurokaz, which is a mainstream festival, that festival, mainstream a is which Eurokaz, of context the n

isual c it encompasses. The Festival, throughout the decade of its its of decade the throughout Festival, The encompasses. it been shown at a queer arts festival. Although this this Although festival. arts queer a at shown been ulture, dis ulture, see s 136 - as

truh ht rs. N prism. that through n cussed i - slowly I was developing this idea that the that idea this developing was I slowly rmn, ae h Fsia it a flexible a into Festival the make framing,

fn that find I –

the move from the mainstream “high mainstream the from move the following: n Chapter 2 festival which would be called called be would which festival

t elcs h contemporary the reflects it

. pay attention to it. to attention pay

se artists were, in fact, fact, in were, artists se ow, the things have have things the ow,

the queer aspect queer the

(...)

s I CEU eTD Collection 30 closed not in and Festival, the slot time prominent the in happen to programmed This Festival. the at work is relationship new privileged their present to invited repeatedly get who artists these of work the and Festival the between relationship of kind a established has programming Željk artist performance and conceptual Croatian the and Buljan, Ivica director theater Croatian the Dimchev, Ivo artist performance Hoghe,Bulgarian Raimund asthe such artists several of returnsrepeated the the revealsprograms Also, world. art the in represented already for not call was that the that clear seems It 2003. topic new a on work new invite to in order in issued was 2003 in participation Zagreb Queer first the at Identities” Queer participation for call open an through season.his Festival tothe next invite will cutti and exciting most the to asjudgments form and globe, acrossthe shows art to round year all travel to is Festival Zagreb the of director program the of role The t in high prestigious, of model the on functions programming the that mind in keep to important is it level, general a On artist. Bausch’ Pina as presented first the

H e willfor e return he program is based on the decisions taken by the festival programmer/artistic director. programmer/artistic festival the by taken decisions the on based is program he Only occasionally, the artists also get invited to participate in the Festival program program Festival the in participate to invited get also artists the occasionally, Only choreographer German famous the 2006, In

time

just the just 30

with three last

2012, his three his 2012, his

other Festivals other

Festival but theFestivalFestival but decade.

piece especially clear in relation to Raimund Hoghe’s work. His work is work His work. Hoghe’s Raimund to relation in clear especially s star dramaturgist, and an almost mainstream though cryptic dance cryptic though mainstream almost an and dramaturgist, star s Swan Lake Swan

and also for post for also and - hour long show show long hour

– o Zorica. The Festival program director through his through director program Festival The Zorica. o

s a te ae ih h ehbto “ exhibition the with case the was as

that questions the beauty myths. Hoghe is usually is Hoghe myths. beauty the questions that 137 - Festival Queer Season in 2013. Seasonin Queer Festival

–

Raimund Hoghe Raimund in 2009, his 2009, in If I D I If

- art festivals where the participation participation the where festivals art ie, Leave the Balcony Door Open Door Balcony the Leave ie,

nlss f h tn Festival ten the of analysis “ Bolero Variations Bolero

ng F a was ue Zge Festival Zagreb Queer - edge pieces that then then that edgepieces

–

est a thematic field field thematic a ival guest for guest ival Post ” - socialist

opened opened

CEU eTD Collection show program director by Festival the to invited repeatedly was work Hoghe’s which for reasons the are other, and These, body. dancing the and form dance the of conceptions dancers’ and viewers’ into al also that that but pieces dance choreographing to approach queer, formally as read be could that work experimental artistic into form dance classical deconstruct his in visible is This context. differenc for and clichés, beyond 7 Section in detail Festival the of one became Hoghe art, queer with associated 2009, 1 ( t And entertainment. or England “entertainment”: as queerness of programming West the in festivals” “gay Festival the by presented works art the of “diversity” the in finds he that value artistic analysi my (see interview eviden artist as the himself, for enriching was which effect an dimension, new a pieces dance experimental changing Exposed to Virus and Fashion and Virus to Exposed n h 20 program, 2006 the In immediately are image public his nor choreography his neither though even So his given has festival, art queer a in work Hoghe’s of inclusion the Reversely, – . He . . His thinking about diversity in queer art art queer in diversity about thinking His . 2)

gay cult gay .

n emn i yu efr in perform you if Germany in

explained that the reason his performances do not fit in with the programs of the of programs the with in fit not do performances his reason the that explained ways questions the presumptions of heterosexuality and able and heterosexuality of presumptions the questions ways .

e i hs ay retu many his in ced ure ure .1, but here we we here but .1, his is not what I'm doing. For me For doing. I'm what not is his is interesting) is s of this interview in Section 7 Section in interview this of s

– n nrgig nig f h F the of ending intriguing an

e ak aot h U ad Germany and UK the about talks he e beyond appearances of sameness, even in a countercultural a in even sameness, of appearances beyond e also

- by Silvio Silvio by

it is gay, but ma but gay, is it n t te F the to rns get a glimpse of his artistic motivation for looking looking for motivation artistic his of glimpse a get qer a fs, people fest, gay queer a 138 Vujičić. This fashion “performance” fashion This Vujičić.

“ (I) at estival, and as he also confirmed in our our in confirmed also he as and estival, ' a lcé o mn peop many for cliché a t's the

intr atss f the of artists signature ny people do not fit into this into fit not do people ny this diversity this .1). In the interview, he emphases the the emphases he interview, the In .1). Queer Zagreb Queer estival

osse o te fashion the of consisted

(here) is important is (here)

il hn yu il do will you think will

– i s anal s

s hs festivals’ these is - bodiedness built built bodiedness ue Zagreb Queer Queer Zagreb Queer le yzed in more more in yzed -

” queer. explored

(Hoghe (Hoghe . And And . t he he In - CEU eTD Collection in place took shows The Croatia. and Africa South Brazil, France, Kingdom, United the from performances artistic with 2008 in program strong the by evidenced is dance contemporary fieldthe wider and institutional its circuit, ofaction. festival and genres, different of sections following prestig of field cultural institutional particular the professionala by selection systemof curatorial traditional the well of work new programming choiceof nece art queer correspond to seem partially only would relations inthe programs. inmanifestos and region the differentiates the of issue the also these raises as such works art stages that project Festival the of ambitiousness The community. gay transnational and AIDS historyof the with levels multiple on engage actors porn by worn metho deconstructive brings show fashion Berlin. from company production porn gay a of actors the by show the at exhibited “virus” digital with to relation in virus HIV the of workings the ue Zge Festival Zagreb Queer The programmatic interest in both emerging and wellemergingandboth in interest programmaticThe art queer of meaning the on debates ongoing the of terms In is

discussed in S in discussed ssarily needs to bring the norms around sexuality and gender into turmoil. The turmoil. into gender and sexuality around norms the bring to needs ssarily Queer Zagreb Festival Queer , the Festival itself Festival the ,

inserted in the production of the textile of clothes, which were later later were which clothes, of textile the of production the in inserted

the financial dimension of the Festival. This “class dimension” that dimension” “class This Festival. the of dimension financial the is positioned in the dynamic field in between the LGBT community, community, LGBT the between in field dynamic the in positioned ections 4.3 and 5 and 4.3 ections

s hg at fsia wih hoe t epoe uens i a in queerness explore to chooses which festival arts high a as functions as functions

with its generous budget from other queer festivals in festivals queer in other generous from budget with its - to known or promising young artists youngartists promisingor known

ds to material production of strange clothes that that clothes strange of production material to ds the what can be taken as a shared understanding that understanding shared a as taken be can what .3 139

ious arts festival. However, as discussed in the the in discussed as However, festival. arts ious in relation to the organizers’ the to relation in body and socie and body

a sp a ace of mixing of high and popular art, art, popular and high of mixing of ace

- known p known program ty in terms of terms in ty – erformers in theater and theaterand in erformers

director the Festival’s strategy strategy Festival’s the

framing of funder funder of framing

– experimentations

chosen through chosen –

help

Vujičić’s s profile profile s CEU eTD Collection all centrality This square. main the of vicinity 31 (professional)curators arts the created visual wo the selected director p the joining curators additional four had team organizingthe especiallythat is in noticeable This 2008. of generalas in formsart visual additio In queerness. of (in)tolerance religions’ world intent onquestioning (hetero)normativity as framed such. or contem and art, radical art, high together brings that event the as Festival the frames that programming the through seems, it produced, are however, Stevens, Elisabeth O andThetheir questionsthat ownlocal askabout artists start off from conditions experience. performative unique a create to host local the and dancers local with collaborate conte Brazilian two outro/Kuća drugog”), do (“Casa Other” the of “House called performance the In history. Festival’s in chronotope performative unusual an creating house, private a at staged was performance V Gavella, houses: theater mainstream prestigious 3

hr, r h promne ic “re Wdig b Ane S Annie by Wedding” “Green piece performance the or ther”, These theaters are long are theaters These

other other In 2008, the traditionally strong traditionally the 2008, In is taking place it house whose in host the also and performers audience, the of notions public/private balcony kitchen, bathroom, bedroom, the in to performers and dancers local invite (They) space. living private a within space performance public a creating by space of lack of obstacles the to react they manner, direct very a In Paulo. producti inferior the Queer Zagreb Queer

vn xeietl efracs uh s h da the as such performances experimental Even

venues as well. as venues . -

standing mainstream cultural venues, all located in the very center of Zagreb, in the the in Zagreb, of center very the in located all venues, cultural mainstream standing (Queer Zagreb(QueerFestival 2008a,18) k fr the for rks present their work in a confined space of someone’s living space living someone’s of space confined a in work their present on position of dance as well as lack of space for dance in Sao Sao in dance for space of lack as well as dance of position on prr dnes neo auer ad n Ctrn Vieira Catarina Ana and Madureira Angelo dancers mporary

considered as prestigious art prestigious as considered – “

in terms of urban geography and/or cultural prestige cultural and/or geography urban of terms in Theater “ Film rogram director of the F the of director rogram oay r uig lmns f avant of elements using art porary 140 “ ” ”

Visual Arts

and and section is especially concerned with the major the with concerned especially is section

“ Film idra and Histrionski Dom Histrionski and idra n, there is an emphasis on the different the on emphasis an is there n, –

which will redefine the meaning of of meaning the redefine will which

” ” c pee i) Te os o the of House “The (in) piece nce

section Festival. at the 2008 sections of the program, the four four the program, the of sections

. The effect of prestigious art is art prestigious of effect The . estival. While the program the While estival. prinkle and her partner partner her and prinkle - ad art garde

31 – . One dance One .

characterizes characterizes

–

all –

CEU eTD Collection umjetnosti likovnih 32 specifi over “monopole its for students and social rules” norms current “reproducing its of terms in education arts traditional of knowledge/practice” Špoljar Tanja and The Arts “ALUdiranje” exhibition, curatorial collaborative the by organized a was other The survivors. the of testimonies recorded several including documents, historical and photographs of 1945” to 1933 from O exhibitions. arts visual more two structural the violenceLeonida ofwhich curator claims the Kovač with sexuality and gender of intersections the with deal works these of All city. the around Geyer Andrea artist visual German the of posters up putting of action art an film Iranian the by films experimental two Kozyra, Katarzyna artist violence structural the by curated segment

The exhibition title is a w a is title exhibition The

Wo_collective in The the to addition In (Leonida Zagreb KovačFestival inQueer 2008a,50) sexuality and gender regulating by implemented and norms norms those by defined politics social heterosexist and/or patriarchal accepted generally are repr which practice which representational by generated violence violence as crime, as qualified of forms recognizable and visible those all point to starting legitimization the and is violence structural invisible pervasive all and omnipresent That 2008 The

Zagreb, questioning the normative institutional framework of the national art national the of framework institutional normative the questioning Zagreb, Academy – (Wo

“ ALU) into the verbal noun of the verb verb nounofthe the verbal ALU)into , , I ehbtd vdo ntlain n a ie wr b te oih video Polish the by work video a and installation video a exhibited It . Arts Visual

comprised of three visual arts curators: Jelena Graovac, Marijana Rimanić MarijanaRimanić Graovac, curators:Jelena arts visual three of comprised xlie te mat f h ehbto a epoig h “ the exploring as exhibition the of impact the explained

- kolektiv in Queerkolektiv in ZagrebFestival 2008a,56) in this work is criticized from the inside by its current and former former and current its by inside the from criticized is work this in

feminist curator Leonida Kovač revolved around visual questioning of of questioning visual around revolved Kovač Leonida curator feminist ord “ - Visual Arts Visual play, incorporating the abbreviation for the Academy of Fine Arts (Akademija (Akademija Arts Fine of Academy the for abbreviation the incorporating play, Wo_collective ”

section was composed of three segments. The segments. three of composed was section ne was the exhibition “Nazi persecution of homosexuals of persecution “Nazi exhibition the was ne

”

segment curated by Kovač, the 2008 Festival staged Festival 2008 the Kovač, by curated segment c knowledge knowledge c

together with the students of the of students the with together 141

to allude to :

–

art(istic)

- . itrcl n practical and historical - mak

er Tina Gharavi, and and Gharavi, Tina er – Academy of Visual Visual of Academy

s el s body as well as “ institutional institutional Visual Art Visual s

school. oduce oduce 32 – ” . ,

CEU eTD Collection Paris. AsZvonimir in ourinterview: exclaimed established the at played first Germany, and Austria France, from funds The performance. single each of occasion the the of program hor of about attending ornot opinions strong have and work, his “know” already also visitors Festival The interview. our important frame inspirationf and an is art queer that clear is it Festival, the at yearperforming second Inhis repetition. with off surprise The festival. of conventions of general. queer about discussion further fosters and experience, festival provoking thought and challenging a audiences festival to and artists participating the to both offers in renowned with together artists queer regarded highly Zagreb to bring to is strategy chosen pro the in witnessed be can normativity institutional the within from artists framework. Croatian young by resistance of possibilities and explored that students art of work universal” and neutral valid, generally as present(ed) entoa ar ternational oeo Variations Bolero Taking a further ste further a Taking izons comes out precisely because the framing of a high art performance within the the within performance art high a of framing the because precisely out comes izons The famous German choreographer Raimund Hoghe is back in 2009 with his version his with 2009 in back is Hoghe Raimund choreographer German famous The

it h eent previously not were who tists Queer Zagreb Festival Zagreb Queer ac Theater Dance - Te oeta o ti promne o ue loig re looking queer to performance this of potential The . effect of a queer framing of a high a of framing queer a of effect , discussed as well in Chapter 7 inChapter as well , discussed p and re and p

lating (high) art(high) lating r pt o h fr b te framin the by fore the to put are or the choreograp “the

has its specific effects on processes of interpretation at at interpretation of processes on effects specific its has detachment from the heteronormative cannons heteronormative the from detachment gram of the 2009 Festival. The F The Festival. 2009 the of gram 142

rgamda digqerat hs strategy This art. queer doing as programmed

“quality” to the concept of queerness and non and queernessof concept the “quality”to

oeo Variations Bolero

her, as . The element of surprise and opening up andelement surprise opening. Theup of (Ibid.) -

art dance performance does not wear not does performance dance art I will discuss in ChapterI discussin will 7 Te xiiin rsne the presented exhibition The . poie b a ue arts queer a by provided g cpoue wi coproduced , Autumn Festival Autumn estival organizers’ estival latio r ad r in art and art ns and the the and ns h h arts the th

analyzing ” ( Ibid.

in - - )

CEU eTD Collection films feature short films, a of importance relations tobeaZagreb oftheFestiv specificity viewers queered that performances daring of series as “entertainment”, as art i gay discussed of perceptions clichéd the to contrast in politics identity this posited anothermean acquiresalso a be diversity Festival, Zagreb to the of argued case the in be However, form. may festival of strategy it constitutive topics, and perspectives genres, of mixing and exchanges of music. and 2004 the of program a of pot melting a programming the to turn I Here 5.1.2. Strate importantthe most organizational strategy which they through intervene inthe festival field. the of concern constant a is framing institutional the ocrig h ue f hs taey f iest i te 04 etvl rga, t program, Festival 2004 the in diversity of strategy this of use the Concerning The difference in reception and very interpretation of the same art work depending on on depending work art same the of interpretation very and reception in difference The a queer perf that! about clue no having out go will audience the of half festival, Autumn queer A

tal I rfr those prefer I ctually n As f As gy of Programminggy of Diversity dvriy i the in “diversity” Subsection 5.1.1. P 5.1.1. Subsection –

it depend it

or the strategy of diversity of strategy the or wide selection of queer films, both in terms of their genre their of terms in both films, queer of selection wide

But if you watch him at Queer Zagreb, everybody will go out saying: that’s that’s saying: goout everybody will Zagreb, Queer at youhim watch if But ormance! Queer Zagreb F Zagreb Queer eod raiainl strategy organizational second s on the context! If you are watching him in the middle of Paris at the atof Paris middle the in youhim are Ifwatching context! the on s –

ing and of the diversity of cinematic o representations diversity of the and of

(Zvonimir 2010,7) (Zvonimir – (performances)

pnes o xeietl ok ht ues rs s el as well as arts queers that work experimental to openness that of openness to queering.to openness of that rt forms, genres and occasions and genres forms, rt erformance artist Dominic Johnson Dominic artist erformance estival

in the sense of programming the festival as space as festival the programming of sense the in

that focused particularly on the art forms of forms art the on particularly focused that 143

al ie amn Hoghe Raimund like

(see Section Queer Zagreb Festival Zagreb Queer

’

outlin ecpin o sxa ad gender and sexual of perceptions

C d bv a the as above ed 7.3 horeographer Raimund Hoghe Raimund horeographer – ).

through the analysis of the the of analysis the through

’s found this diversity in diversity this found

who is maybe not so so not maybe is who

what would be queer queer be would what f queer lives, f queer , and I and , -

documentar

strategy of of strategy s uggest film

can can ies, he

– a

CEU eTD Collection Japanese Girl television state on interrupted was screening its after 2005 three in Croatia and Slovenia the places, different strategy ofdive 2004 the in way following the in described wh singers Croatian the featuring the of highlightThe performance as such Festival. 2004 music the in the program also but program film the of only not indicative is styles and genres numerous “ cut of to hoping value organizers, the how see can we screenings, premier all preferences. and taste sixty as far diverse so in Furthermore, of audience prospective a to speak to effort an as seen be n li In the from performed rainbow” the over “Somewhere as such classics some sang also She music. to liturgy catholic of texts set that performed tha elements queer program the of more choice one The atypicallity. showing her challenge time this accepted readily Šverko Radojka Lisinski, Vatroslav Hall Concert the in Orchestra SymphonyLondonGay the with soloist a as sing to Festival her After included

ne with the the with ne a rt forms: children’s theate children’s forms: rt o have diva status diva have o s’ comics colleague

by Barbra Streisand by the first screening of the film the of screening first the rsity as genre asrsity cross – “

s of queer hip hop artists, in addition to addition in artists, hop hip queer of s strategy such as the fact that at the concert of a gay orchestra several pieces were pieces several orchestra gay a of concert the at that fact the as such Music who explored who 05 program 2005

ui io Rdja Š Radojka icon music Josipa Lisac refused the offer of the of offer the refused Lisac Josipa

- cos oiia cnen ad host and concerns political across ”

. Her performance with the with performance Her . section was was section of bringing together multiplicity of art forms and artists from from artists and forms art of multiplicity together bringing of - The music sect music The one . -

fertilization on fertilization thelevel ofone musical

film (2004, translation) 1my the r, dance performances, and films and performances, dance r, presents s highly controversial topic controversial highly screened the

144 concert of the of concert

ion Oranges Are Not the Only Fruit Only the Not Are Oranges verko rit from artists

ue Zagreb Queer

iad f z ad “People” and Oz, of Wizard

is said to be devoted to “music curiosities” “music to devoted be to said is in 2004 in Šek i oe of one is Šverko .

n 1990 in Gay Symphony Orchestra Symphony Gay se ag otie ams subtle almost contained sang she t within the within

London Gay Symphony Orchestra Symphony Gay London the novelty” is appealed to by the the by to appealed is novelty”

organizers of the Queer Zagreb Queer the of organizers various in various lt. h srtg o offering of strategy The ility.

) press S, rzl Jpn France, Japan, Brazil, USA,

n the and of childhood and queer and childhood of - . span of eight of span release The The

ternational queer djs. djs. queer ternational few Anime show “

ilsrtn the illustrating , Film rain female Croatian

: (

fifteen years fifteen

– se ”

days eto of lection section

originally originally has been been has

we ness

in re

CEU eTD Collection art liminal practices artistic My strategies. programming ( Broadhurst by theorized as life, everyday and theory art, between also but genres between and screenedat withstrategies theFestival Festival, but of programming itself. artworks staged of characteristics I ofparticular however, muchwith concernedthe notso am difference” but sameness not produces that repetitiveness a and style’ shape self indeterminacy, heterogeneity, quasi common share and intertextual, and “hybridized Broadhurst Susan to According as theorized been have that works of body the to comparable art of programming is what The of boundaries art. the (queer) push may considered week festival the of experience the and program of understanding “performance” religiousactivists” Festival traditional their and Gospel Full the of Church the of activism relat in happened “ Ibid. normality a variety of art forms and putting “high art” in direct dialogue with popular art popular with dialogue direct in art” “high putting and forms art of variety a In a playful playful a In :174 The understanding of liminal art in contemporary art criticism as blur as criticism art contemporary in art liminal of understanding The seco The ” – (2005a, 1) (2005a, ” – 176 , the organizers organizers the ,

in the hope of producing the effects of queering the space of contact between the the between contact of space the queering of effects the producing of hope the in

of the of ) – i o iprac i m tikn aot h ifune o influence the about thinking my in importance of is , nd strategy of programming I have identified as central for the organizers’ the for central as identified have I programming of strategy nd

– no matter how “eagerly” byno matter expected the ion to the previous two years’ F years’ two previous the to ion

self strategies of avant of strategies did not show up from this year on to perform at the scheduled time scheduled the at perform to yearon this from up show not did

Queer Zagreb Festival’s Zagreb Queer as - reflexive reflexive if an actual art piece and part of the program the of part and piece art actual an if count suggestion ue Zge Festival Zagreb Queer gesture ed - (1999) reflexive

- on the probability of probability the on garde and of contemporary art practices such as such practices art contemporary of and garde

, typical of their strategy of queering Croatian Croatian queering of strategy their of typical , is that organizers that is are performances liminal , ness, eclecticism, fragmentation, a certain ‘shift certain a fragmentation, eclecticism, ness, 145

aesthetics and politics is the intentional mixing intentional the is politics and aesthetics

estivals)

- a i is e yas oue on focused years ten its in has generic aesthetic features, such as as such features, aesthetic generic Festival

’

protest and include and programming strategies draw on on draw strategies programming Protest Against Queer Zagreb Queer Against Protest

aant h F the against s participants. participants.

works of art that are are that art of works . d Ironically, the “local the Ironically,

“ f art practices on on practices art f the local religious local the ( Ibid. ring boundaries boundaries ring

estival :169) liminal art liminal so that the that so

of their of . Here, . that of of that

(that - . CEU eTD Collection countries” dozen a from “performers featuring performance cabaret club queer York New the of performers queer and producers the with collaboration in organized program entertainment evening an and play, theater Croatian a dancers; contemporary Spanish and Irish French, by shorts. short five presented The films. short of sections two to addition in countries, countries” Asian of dozen a from order in festivals” film “several with the of cooperation of intensity bythe but films, of number the Homemade Pink parts: thematic “ progr naturalness as Festival the at framed is theater” Italian of generation “younger a presenting in interest the around hand, locations. the The works. art and artists scenes, art varied extremely between connections are presents actually Festival the that art queer the as works art F ilm

a i wih h porm f h 21 F 2011 the of program the which in way mig ou i 21 i as o Ain ue fl p film queer Asian on also is 2011 in focus amming ”

Beside the two main thematic interes thematic main two the Beside F 2011 The emn cle “ue Ai” Te Qer sa fl scin a dvdd no two into divided was section film Asia” “Queer The Asia”. “Queer called segment –

“

the space of the Festival and of the of and Festival the of space the

n ie n art and life in Asian Queer Film Queer Asian . The scope of scope The . estival progra estival films

ig s bing from India from Qer arb etvl 01, 3) 2011a, Festival Zagreb (Queer poonl queer“ “profoundly this one the On interests. curatorial main 2 around structured is m ee Te lsn eet f h F the of event closing The cene.

and two short films sections films short two and

(Ibid.) ambitious ambitious ; to put together a selection of selection a together put to

the I ata fc th fact actual In . Pink Homemade Pink ts, th ts, 146 estival brings together art works, genres, and and genres, works, art together brings estival programming broader Croatian social context. As important As context. social Croatian broader

e 2011 F 2011 e

since it it since its ambitious suggestions of possible of suggestions ambitious its estival also presented performances presented also estival

xeietl ot Asia South Experimental section screened five Indonesian five screened section is meant eight movies from six six from movies eight meant is

project is not only reflected by by reflected only not is project roduction Queer Zagreb Queer question –

Experimental South Asia South Experimental O te te hn, the hand, other the On . estival was a queer circus circus queer a was estival

“ (Ibid.) a number of recent titles recent of number a s

– h “ the

represented in the the in represented that grew out of a of out grew that

program director program

case in case normality and and normality –

their work work their

point is point section

and

CEU eTD Collection Europe CentralEastern socialis post the Festival); Zagreb 2009 the for framework as used and 1, Chapter in (discussed countries Yugoslav post post other as well as Festival, 34 See: theater. contemporary t art body and art performance 33 past one's regaining and war the after minority national Serbian the regions, rural is Zagreb of exploration the to belonging Festival’s the for performance the of salience the emphasizes description political dramatized Drake, David by performed and written Brant, Kathleen visual influences ontheiridentities. ofqueerness sexual manifol of lecture performative a gave Serbia from Ilić Siniša and Đorđev Bojan actors piece, this In artists. queer regional two by Visualities” “Queer called performance included to belonging problematized that art di 2003, in art. queer regionally The 5.1.3 Strategy Cultivati of programculturalan space createdof intriguing “border a such in implicit ambition organizational and curatorial the of scope The Zagreb. the with collaboration

The The eogn t a ein n te ein n usin r ngtae truhu ti th this throughout negotiated are question in region the and region a to Belonging third programming strategy programming third Festival of N of Festival t region invoked at the first first the at invoked region t The second art work in question in work art second The

four sus f yh f rgn, and origins, of myth of issues its direct link with some of the most important issues in Croatia such as life in the the in life as such Croatia in issues important most the of some with link direct its scussed in Section 5 Section in scussed

performances by international performance artists, and one installation/lecture one and artists, performance international by performances

ew Circus Circus ew region through queer art: queer through region –

Besides the exhibition exhibition the Besides all variously mentioned as regional framings by different actors I encountered. I actors framingsdifferent by as regional mentioned variouslyall http://www.cirkus.hr/?lang=en Festival of Festival - is being organized since 2005 in Zagreb. The Festival presents various forms of of forms various presents Festival The Zagreb. in 2005 since organized being is Yugoslav queer art festivals. The terms of negotiation range from the region of region the from range negotiation of terms The festivals. art queer Yugoslav a xlr icstcnqe uha ugig coaisadconn within clowning and acrobatics juggling, as such techniques circus explore hat ng (Regional)ng Art Queer Queer Zagreb Festival Zagreb Queer .2

I .1 New Circus New am , the first Festival year already brought already year Festival first the ,

interested in interested the –

“The importance of presenting this show at Quee at show this presenting of importance “The region the t the f ofotn oes past one’s confronting of Post 147 33 heater piece heater , one of the most most the of one ,

(Accessed on 13 on (Accessed -

socialist queer identities queer socialist 34 ; to the Balkans, Western Balkans, Eastern Europe, Europe, Eastern Balkans, Western Balkans, the to ;

is the strategy of staging and producing of of producing and staging of strategy the is .

The

- exchange” during t

“ Theater The Son of Dracula of Son The th

April 2013). April 2013). exciting new exciting ”

the interconnectedness of of interconnectedness the eto o te program the of section .

h 20 catalogue 2003 The esis and the life of the the of life the and esis

he Festival week

two other two at the first Festival first the at

art festivals in festivals art ,

directed by by directed d, complex complex d,

” work

diverse diverse (Queer s

. of of

r - -

CEU eTD Collection Drake: David writer ofthe web page theSee 35 art queer states exclus coming “post for of not least, hurlingcamp ath of into bit but last and spaces/discourses; public of reappropriation the through imaginary cultural the masculiniti dominant of performance homophobic the an art: performative and visual through issues regional complex those its tested space public heteronormative changeability some interpretationswhat and offered ofqueer the into interventions artistic These Zagreb. Kož Kristijan place take where Zrinjevac park the to close crossing zebra rainbow a created sadisti even or penetration the agg skinheads’ the byreading context “transvestitism/travesty” the explored Lau art theregional from theregion andwith socialtowards attitudes identities. minoritarian clear makes catalogue overlapping production art transnational including Transylvania, 9) 2003a, Festival Zagreb

The 2003 performance of the play was the “European debut” of the play written and direc writtenand play the of debut” “European the was play the of performance 2003 The regional queer regional In the F the In to spoke 2004 in Croatia in politics and aesthetics queer relating art queer way, this In . Following t Following . At the 2004 Festival, through the exhibition called exhibition the through Festival, 2004 the At

oils qer, u ti ya i gt eomltd no n xlrto o qer art queer of exploration an into reformulated got it year this but queer”, socialist hog te im selection film the through i te utrl n isiuinl er o te city. the of heart institutional and cultural the in , estival’s fifth year fifth estival’s l playful ul vl fo te ein cnetaie hr as here conceptualized region, the from ively ness he lead of the F the of lead he

– –

the strategy that started that strategy the the Festival framing of the play puts it in dialogue with other queer queer other with dialogue in it puts play the of framing Festival the

exhibited .

Here, the region is the wider Balkans region of Dracula’s Dracula’s of region Balkans wider the is region the Here, in 2007 in eul act” sexual c

estival manifesto, the 2007 program focused on the regional regional the on focused program 2007 the manifesto, estival

http://daviddrakeproductions.com/#/writer/4532396412 e eihsi ojcs n so wno i te etr of center the in window shop a in objects fetishistic ression at the at ression , it is po is it , rsnig otaas f ans i fre Yugoslav former in gayness of portrayals presenting seriousness ofCroatianseriousness “normality”

of of 148 (2004a, 1) (2004a, ssible to note to ssible Y

in the very first year in the F the in year first very the in - chromosome first Zagreb Prides Zagreb first es; . rainvsa ats ivo Vujičić Silvio artist visual Croatian an Transvestitism the continuation of the pr the of continuation the

may may engagement with the changes in changes the with engagement eern to referring , connecting it with the local local the with it connecting , mean nte l Another 35 Hwvr a te 2003 the as However, . the Zagreb Pride events events Pride Zagreb the

oppositional reading of reading oppositional as “ as

in Croatia. in ,

Danish artist La artist Danish a transfiguration of transfiguration a . h post the

cl iul artist visual ocal ted by the US artists. artists. US theby ted estival’s search estival’s

. - Yugosla

oduction

sse sse v

CEU eTD Collection o reappropriation of instances has that program inventive art emerges concept, as a topolitically provocative open invested interpretations. identity” regional double a create 7) 2012, (Kavaliauskas to least at or Balkans the from themselves “exclude culture. connections effects ofdesirability theterms around thatwere being reclaimed concep in region, the toward completely sections brought whichprogram, 2007 the in is claim post the to both refers context Croatian represents program, activism withaspecialgeography” onregional focus still strong a is emancipatory of existence project activist/cultural the to due appeared that body, cultural regional/mainstream “present( art, queer regional pieces cinematography In terms of practices, this mobilizing around queer as a regional concept translated into an an into translated concept regional a as queer around mobilizing this practices, of terms In has an unstoppable desire for for desire unstoppable an has . T of strategy This on emphasis an puts program 2007 the manifesto, organizers’ the to According

Discursive – e edny i tendency he

all representing regional art. The organizational choice in 2007 to turn the Festival the turn to 2007 in choice organizational The art. regional representing all conceptual goe a wl as well as , s along with the project of making of project the with along s

t hrough their juxtaposition. The reg The juxtaposition. their hrough

distancing in Croatia and Slovenia has bee has Slovenia and Croatia in distancing

vr iprat etr twr re toward gesture important very a affir and ization - s such as Queer Zagreb F Zagreb Queer as such s . In this context then, the introduction of the focus the of introduction the then, context this In . uolv tts n te ie Bla rgo. h eiec fr this for evidence The region. Balkan wider the and states Yugoslav Cota pltc t sy wy rm n mnin f Balkan of mention any from away shy to politics Croatian n einl queerness regional regionally queer queer regionally n) sr o mpig of mapping of sort a ing) mation of regional queerness: “ queerness: regional of mation intimate tual as well as in programmatic in as well as tual fud n h mnfso s el s n h 2007 the in as well as manifesto the in found , 149 “

Theater contemporary experience of queer through art, theory and and theory art, through queer of experience

estival” estival”

claims to claims ( ” ion in the context of the 2007 F 2007 the of context the in ion Ibid. , “ Music (Queer Zagreb Festival 2007a, 1) 2007a, Festival Zagreb (Queer f the cultural a cultural the f :9) - prpitn bt trs in terms both appropriating

ac, hae ad performance and theater dance, . the

” n interpreted as an attempt to attempt an as interpreted n ue tnece wti all within tendencies queer , – “Europeanness” of Croatian Croatian of “Europeanness” “

Entertainment queer art andthe art Balkans. queer The celebratory The nd artistic heritage of of heritage artistic nd

terms on regionally queer queer regionally on ,

produced the the produced ”

and program “ estival Film the . It . ”

CEU eTD Collection actualized get s In this 5 staging regional diversity through bringing together in orde of the international framing artand “high” worldasofa their toCroatia art part festival queer homosexuality cinema and Yugoslav insocialism” fact “post in the dispelling does of work cataloguing the perform this cinema”, Yugoslav in appearing outlaws sexual other and homosexuals of “catalogue of making beyond go to needs cinematography Yugoslav former non with engagement critical although that out points Jovanović However, spotting as criticized is approach Polimac’s film. the for central is relationship gay or lesbian break 51) 2007a, Festival and comedies in representations former Cinematography” Polimac former the .2

In s this - p f uolva ilsrtd y eet im fo Bsi, eba n Cota where Croatia and Serbia Bosnia, from films recent by illustrated Yugoslavia, of up

r to Programming Queer ChronotopesProgramming Zagreb Yugoslav cinematography of the 1960ies and the 19 the and 1960ies the of cinematographyYugoslav ection I analyze strategies of the organizing team that enable particular chronotopes to to chronotopes enableparticular that team organizing the of Istrategies analyze ection ”

ae a gave by Nebojša Jovanović Jovanović Nebojša by - open up those workopen upthose ection, I ection, explored three uolv im industry film Yugoslav

during t during

( queer .

. According to Polimac, “gay theme” becom theme” “gay Polimac, to According . i lcue rcs gy relations “gay tracks lecture His lectur he Festival wee Festival he )

works ofart o “a M “Gay on e s tonew possible readings; rtc rms f h 19 the of dramas erotic

programmi a mixture ofart formsa and mixture A pr o ti aed, the agenda, this of part As . (Forthcoming .

k. In Section 4 Section In k. - Yugoslav ‘epistemologies of ignorance’ regarding regarding ignorance’ of ‘epistemologies Yugoslav otifs in in otifs 150 ng strategies

( 2014 Ibid. .2, I focused on figurations of time and and time of figurations on focused I .2, ex is n mtvs o te agn of margins the on motives” and hips - :6) ) uolva (S Yugoslavian

(2) programming (2) : (1) bringing well n i PD research PhD his in . 80ies gay of incidence higher a to 70ties

genres es much more visible after the after visible more much es

Plmc n Qer Zagreb Queer in: (Polimac Croatian Croatian , and (3) support, and (3) c) n Regional and ic.) festival devoted to im rtc Nenad critic film - known names known - normativity in in normativity - in - progress. progress. ing anding “ homo - CEU eTD Collection organization process describedas is the2003Festival followsin catalogue: Festiv the at time first the for exhibited be would that work thematic (the) “ post of creation the in involved as organizers the by imagined “Post called exhibition The exhibition. collective a organizing through and conference, 2003 the at activism and theory through both queerness socialist subsection artistic and activism theory, not is chronotope The 5.2.1 Programming Chronotope of the of chronotope the resistance. and chronotope; conference the queerness; regional of understanding chro three the follows interpretatio and Festival year’s with the Here manifestos. Festival the from read be can that effects, their and space, the aesthetics of displacement whose ambiguity warns of a forgotten proximity of of proximity forgotten a of warns ambiguity whose displacement of aesthetics the

is time first weird andweird the programming strategies that enable some chronotopes, either characteristic of that that of characteristic either chronotopes, some enable that strategies programming the create to them asking artists, regional of participation the invited organizers The applications to our call for submissions. As the topic of queer identity has not had had not has identity queer of topic the ba As submissions. made for been call has our to selection applications The countries. neighboring the and Croatia Exhibition on postsocialist queer identity will present works of eighteen artists from artists eighteen of works present will identity queer postsocialist on Exhibition I 20, h ognzr apoce te usinn o te enns f post of meanings the of questioning the approached organizers the 2003, In .

space as a whole or of particular art works, to get constituted as space open for use use for open space as constituted get to works, art particular of or whole a as (the) strange”(the) b is viewers its by n always

aaye ee s the is here analyze I notope clearly separated from the time the from separated clearly practices, analyzed as the conference chronotope in the fol the in chronotope conference the as analyzed practices, s

(Queer Zagreb(Queer Festival 2003a,5) individuated in Section 4 Section in individuated -

s discussed as Regional Queerness f 151 sia crntp o rgoa queerness regional of chronotope estival

n hpe 7 Chapter in .2 i.e. the chronotope of chronotope the i.e. .2 - space of exchanges between queer queer between exchanges of space

. . socialist

- n hs s this In oils qer eteis as aesthetics queer socialist

Queer Identities” was was Identities” Queer l Te eeto and selection The al. cin te structure the ection,

intersectional intersectional e o the on sed concern (the) (the) lowing lowing . This This . odd,

is - CEU eTD Collection Festival e (for festivals regional the from significantly differing Zagreb’s Queer differ “class the is queerness, regional intervention. curatorial this through only “seeable” and visible made be to but them in implicit politics existing already invited that event first the art: queer regionally of creation the of continuation the as well as point starting queer of nature the on discussions complex the with resonates that event landmark a post such as to and identities devoted space a into exhibition 2003 the made potentially states, of queer inCroatia: “jigsaw queer/post to related concepts An artis the of origin regional The other rsne wrs omnct truh ihr n o te he trs queer, terms: three the of one works either through a forms different the within But, identity. and postsocialism communicate works presented the also are existence. undermine androgynous we and issues gay dissect and sex/ lesbian which with those deal explicitly presenting that works with Along Eventu concept offered that was to reaction artists' the in interested werewe regionthe in scene art the in continuity ”

n Slovenia in puzzle edr iiin a wl a oe play ones as well as divisions gender

important consideration, important

(…) ally

art. The 2003 The art.

of artistic interpretations and embarked and interpretations artistic of omnipresent billboards, prestigious program, as well as the ticket prices, prices, ticket the as well as program, prestigious billboards, omnipresent

it is possible tofind anaesthetic ispossible it

eighteen ) ; while it both differs and resembles in some aspects the established established the aspects some in resembles and differs both it while ; xample, xample,

artistic tendencies and related and tendencies artistic rit fo te region the from artists Queer Zagreb Queer - socialist/identities, and the resulting exhibit resulting the and socialist/identities, . Queer Belgrade Queer (…)

( d Ibid. - ts, in this case equating the region with the post the with region the equating case this in ts, i -

y The exhibition is a jigsaw filled with signs where all all where signs with filled jigsaw a is exhibition The in terms of i of terms in

)

rsros oiis n bdes f ot f h other the of most of budgets and politics grassroots

ences”

exhibition therefore can be perceived both as the as both perceived be can therefore exhibition 152

in Serbia and the the and Serbia in mn post among

ntersectional approach to the chronotope of chronotope the to approach ntersectional .

( n wt te da f h tid e and sex third the of idea the with ing Ibid.

were selected for participation. The The participation. for selected were upon creating a pioneering a creating upon )

them to the fiel the to them - Yugoslav queer festivals, with with festivals, queer Yugoslav infcne f traditional of significance Red Dawns Feminist Queer Feminist Dawns Red nd contents of the selected the of contents nd d of aesthetics and and aesthetics of d ion put forward a a forward put ion - oils queer socialist

- aesthetics aesthetics Yugoslav Yugoslav

the the CEU eTD Collection http://www.queerzagreb.org/2003/ 36 and UK the USA, the post from them of thirteen beyond, and region the T contexts. post in activism and postart to connection in “queerness” of conceptualization the in expression artistic and activism queer and LGBT Altman, andDavid MandyDennis Halperin, Merck. state global the the of symposium called conference the was One 2003. in Festival activism andprogramming. art through theory, queer combine to decision organizers’ Festival in interested am I Here politics. and conferences The 5.2.2. Programming Conference the Chronotope Queer Zagreb in the art world/culture represe pres and Ljubljana in Film Lesbian and Gay of Festival

The program of the 2003 program ofthe 2003 The Cheers Queers Cheers second ntations in the program of the F the of program the in ntations The second and the third day of the Conference were devoted almost entirely to the the to entirely almost devoted were Conference the of day third the and second The Tw

tige, it is interesting to note comparatively irregular presence of lesbian lesbian of presence irregular comparatively note to interesting is it tige, meig pcs f hoy n atvs wr porme a a at f h first the of part a as programmed were activism and theory of spaces meeting o he 2003 conference gathered altogether twenty one activists and academics from from academics and activists one twenty altogether gathered conference 2003 he

- : Festival chronotope Festival of festival

- organizers haveorganizers years. countereddifferent success in withvarying the -

International Lesbian and Gay Cultural Network. Cultural Gay and Lesbian International art in queer theory and politics, discussed by well by discussed politics, and theory queer in art conference hoooe s pc of space as chronotope Poland Cheers Queers Conference CheersQueers –

the lackcultural a by/for of production lesbians/women, engl/program . Two of the talks were by two by were talks the of Two . in the first day, if we look at the titles and abstracts and titles the at look we if day, first the in

discussed in this s this discussed in

estival, which to a certain extent reflects the situation situation the reflects extent certain a to which estival, - list.htm# 153

is available at: isavailable “

border . Beside the differences in access to funding to access in differences the Beside . (Accessed on April 13 on (Accessed

ubsectiont is -

Yugoslav countries and nine coming from coming nine and countries Yugoslav

hes Queers Cheers - exchanges Queer Zagr Queer he he ” - time

uolv ein ad the and region, Yugoslav th between queer theory, art art theory, queer between

2013). 2013). , and the other was the the was other the and ,

The focus of the talks the of focus The - known authors such as such authors known - space of queer festival queer space of eb Festival eb -

socialist, tr socialist,

nd which the nd which the

36 organizers , was the was , ansition at at CEU eTD Collection http://www.policy.hu/hodzic/cv.htm 37 discussedAmir Hodžić the hisresearch findings on of prese Croatia, organization the by “New Perspectives: migration. queer discussing on focused partly that Europe Central and eve the 2005, 3) neglected” is topic this which to extent the proves only This much. so is topic this that seems it Unfortunately, (…) field. that in experts as feel not do people that impression regional of lack the explains director program post the from researchers and activists LGBT of participation and focus thematic regional strong a with conference first the to contrast In rights. children’s queer and children, intersex and to institutions, educational of heteronormativity children, queer of discrimination 2005 the in presented is discussed topics of range Chil of “Heteronormativity on discussions organizing roles organizers’ the while –

See Hodžić’s CV on information on his research project “Queer migration in and out of Croatia, migrationout of and “Queer in project research his on information CVon Hodžić’s See h porm ietr vnmr orvć icse “otoils ad ue Identities”, Queer and “Postsocialism discussed Dobrović Zvonimir director program the - Yugoslav region, there was just one presenter from Croatia at t at Croatia from presenter one just was there region, Yugoslav ntations were concerned with the politics of migration in the CEE region, one lecture by lecture one region, CEE the in migration of politics the with concerned were ntations ning parties program, the 2009 F 2009 the program, parties ning The third conference happened i happened conference third The ac gathered 2005 in conference second The

etr o Pae tde Zagreb Studies Peace for Center co

both artistic and activist eventsboth artistic and - director intriguing – M

Minor

Gordan Bosanac talked about “Queer in Transition”. This overlapp This Transition”.“Queer in about Bosanactalked Gordan organizing igration i igration

it and almost controvers almost and y Initiative y

(Accessed March 3rd 2014). 2014). 3rd March (Accessed n Central European andEastern R

h Fsia bt als but Festival the

from Vienna in cooperation with the with cooperation in Vienna from n 2009. I 2009. n estival included a conference on migration in South South in migration on conference a included estival –

dhoods” at the the at dhoods” continue and 154

n experts arb ue Festival Queer Zagreb ial that they do not dare to deal with it too it with deal to dare not do they that ial

addition to the film screening program and and program screening film the to addition Festival d iit ad cdmc fr three for academics and tivists

Queer migrations

throughout the Festival’s ten years.throughout the Festival’s ten reflect o

in the following way: “We had the the had “We way: following the in catalogue as covering issues from from issues covering as catalogue ote Institute Goethe ing egion” was jointlywas organizedegion”

he 2005 conference. The The conference. 2005 he hoeial o i, and it, on theoretically ( Dobrovic in: in: Dobrovic The conference called conference The 37 . . hl ms o the of most While

Goethe Institute Goethe n Zagreb. in

2008 transgender Matasović days of of days - 2010”: 2010”: ing of ing The The

CEU eTD Collection spaces art high reconfiguring strategy the of forinteresting implications negotiated, has institutionalwhichbut access is this have to them enabled budget professional networking, through space institutional culture capi Croatian the and week a realize to necessary funds, capital cultural the publicity, securing in successful proven have organizers Festival The regarding i.e. terms practical in discussed The 5.2.3 Programming Resistance Chronotope of the S Beginning ofthrough the “Ends conference the theory. queer and ana occasions several on and discussed, be could policies and politics migration where space the and headquarters programming a provided festival of implications ex theoretical and is cultural artistic, queerness of meaning the Europe, Eastern Central in migrations on Conference 2009 the of contexts Inthe contact. of space the as Festival the of possibilities the i Festival, Sertić. Oliver by and films: ubs Croatia ection 4 hr time third Paper Dolls Paper Beside the lecture, the conference also included screenings of two migration two of screenings included also conference the lecture, the Beside t is clear that the strategy of bringing theory, practice and art in dialogue broadens broadens dialogue in art and practice theory, bringing of strategy the that clear is t : . tal, and of the international arts festival circuit. This integration into the arts and and arts the into integration This circuit. festival arts international the of and tal, 2 E(n)d .2 - space .

Looking at the programming of this conference as a part of the 2009 2009 the of part a as conference this of programming the at Looking

- h co The – en on Earth on en

the 2006 film by Tomer Heymann on queer migrant workers in Israel, in workers migrant queer on Heymann Tomer by film 2006 the

nlzd is analyzed frne hoooe happened chronotope nference

access to the established venues for Festival s Festival for venues established the to access

s pcs f resistance of spaces as

–

the 2006 film on experiences of asylum seekers in Croatia in seekers asylum of experiences on film 2006 the

the chronotope the actual Festival project as realized in each year. each in realized as project Festival actual the - long Festival integrated into the cultural life of the of life cultural the into integrated Festival long 155 –

the Beginning of the End”, discussed in Beginning discussed End”, ofthe

previous six years. In this case, a queer queer a case, this In years. six previous f resisting of . I have already discussed how the the how discussed already have I .

lyzed in relation to queer migrants queer to relation in lyzed also at the last Festival in 2012 2012 in Festival last the at also ized knowledge, ized

the “ eeoeul matrix heterosexual hows. The route to to route The hows.

and edd beyond tended a sufficient a detail in - related ” , CEU eTD Collection T discotheques. cinemas, T world. effective and centrality respected Zagreb.most in cultural institutions the of majority the at exhibited were works art the Festival, the of years ten in that claimed its and club thecounterculturalas urbanareculture thatof such alternative spaces the as such venues cultural smaller as such venues the historical gay club the as such institutions galleries the as such museums Theater Histrion houses theater cinemas the are Zagreb queering important most chan the forth bringing from it spread to choose organizers Interestingly, culture. Croatian and this arts organizers rm t vr start very its From art and concert mainstream the are periphery, urban on though even central, Culturally or geographically either are venues Festival The Pogon Jedinstvo Pogon

hey make sure that the that sure make hey is programmed throughFestival.is programmed the –

Gallery Nova Gallery conceptualize Theater ITD Theater hrceitc o ti patcl etvl chronotope Festival practical this of characteristics utrl al arsa Lisinski Vatroslav hall Cultural , hae Vidra Theater Global Museum of the Croatian Academy of Arts and Sciences and Arts of Academy Croatian the of Museum Goethe In Goethe ges from the center. In this way, the centrality emerges as one of the the of one as emerges centrality the way, this In center. the from ges , the the , publicity for publicity

Theater , Europe e F he hi Fsia a a proj a as Festival their Gallery Josip Račić Josip Gallery , Gavella

which closed. isnow Festival estival

F stitute and and w contempo ; estival’s venues are central: established theaters, gal theaters, established central: are venues estival’s VN Gallery VN hich housed many housed hich

, within their politics of queer of politics their

Zagreb Youth Theater Youth Zagreb Tuškanac ; night clubs night ; s el detsd n toogl f thoroughly and advertised well is raies are organizers

subversion the established institutional spaces institutional established the 156

rary dance theaters theaters dance rary

. On the periphery of Zagreb, but important for important but Zagreb, of periphery the On . ,

clua centers cultural ; Gallery of the Student Center Student the of Gallery

the , c of ect

Gjuro

culturally central. culturally

Queer Zagreb Queer is not marginality. On the contrary, the the thecontrary, marginality. On is not aware uem f otmoay Art Contemporary of Museum , subverting Hotpot Bar Hotpot subversion

(ZKM), f h iprac of importance the of M Club MM –

performances. It can be can It performances. Zagreb Puppet Theater Puppet Zagreb arb ac Center Dance Zagreb - h misra o the of mainstream the , the squat the ,

determining of the mainstream the of In the very center of center very the In Močvara , loe b the by ollowed Booksa ; other cultural other ; as a means of means a as

(G Medika liptoteka); liptoteka);

(the Bog) (the how this this how ,

cultural cultural Mama leries, leries, and , , and and ,

art art ; ; , CEU eTD Collection cross have protection. They police 2000s. the of beginning the at period initial tending demonstrations activist re extensively been homophobic have The “minority”. attacks targeted directly of matter a if as contained were and hostility extended with met 40 distrib wine local a of logo the and opening. Festival partners, media and organizational of list long a 39 Festival 2011 t behind 38 in art, garden queer a of chronotope the as be to programming through enabled been have manifestos all three chronotopes,thestage ofthese street and the areindialogue. Informat. festival the within toaccomplish ispossible renegotiates what thepracticalterms of doing of modes into diverse bringing contact through perspective intersectional The the politics. and implements art chronotope between conference gap the across thinks that art queer of conceptualization here analyzed chronotope Festival of forms D q of politics playful the and domain, Croatia mainstream cultural figures businesses small to media Croatian

ifferent public responses to queer a queer to responses public ifferent For instance, the catalogue of the 2004 Festival lists 14 local and international institutions as Festival funders; funders; Festival as institutions international and local 14 lists Festival 2004 the of catalogue the instance, For Unlike Queer Zagreb, the Zagreb, Queer Unlike As an illustration for this claim, the the claim, this for illustration an As come l o toe r in are those of All - fertilization of strategies of political and cultural activism in Croatia and the region the region and Croatia in activism cultural and ofpolitical ofstrategies fertilization he Festival 40 hs s This

imaginable by imaginable ad elc bt te amb the both reflect and , Queer Zagreb Festival Zagreb Queer ( Ibid. cin oue o te as n hc priua ch particular which in ways the on focused ection

38 oee,ti a lobe hnigi h eet er,a w hv witnes have we as years, recent the in changing been also has this However, practice took multiple multiple took practice :2) . T .

he 39 , while while , sponsors and supporters of the F the of supporters and sponsors the the dramatic dramatic events of LGBT activism, namely the the namely activism, LGBT of events

, as I, as noticed have fieldwork inmy to be seen as anything but but anything as seen be to Festival participants. What has been conce been has What participants. Festival searched searched , reports that there were 157 newspaper articles and TV reports made about the the about made reports TV and articles newspaper 157 were there that reports , h oeig ihs are nights opening the

Program report of the association Domino Domino association the of report Program otat ih h hbta rsoss o GT ciim i activism LGBT to responses habitual the with contrast (Duhacek 2011; Kajinic 2003; Simic 2001) Simic 2003; Kajinic 2011; (Duhacek gos ucinn o te em “ term the of functioning iguous rt and activism are important for understanding all three three all understanding for important are activism and rt

( - regional

as time as forms. er line prud y h F the by pursued alliances ueer 157 ) - . Here

space

The uens. T queerness. en attractive for the general public, especially in the the in especially public, general the for attractive

I “

of discovering local meanings of queer queer of meanings local discovering of sponsored regional have

estiva annual , rwe as wt pltcas and politicians with also crowded

t times at discussed l range from the City of Zagreb of City the from range l .

” he chronotope of resistance resistance of chronotope he Pride parades, and NGO campaigns, campaigns, NGO and parades, Pride

, after a lot of lobbying, mostly by by mostly lobbying, of lot a after , chronotope enables complex complex enables chronotope ,

culy ae lc o to or place take actually oooe evsoe in envisioned ronotopes

ptualized in manifestos in ptualized he crntps the chronotopes: three qu (2011)

– tr h sosrd the sponsored who utor eer” (Skokic 2011) (Skokic

estival the explicitly political political explicitly the , which is the NGO NGO the is which ,

n h cultural the in

sed increasing increasing sed organizers .

n . CEU eTD Collection seek toserve” and art to adapt. According the(queer) are toGamson, festivals totheir film film accountable “as practically on the communitiesonwhom they and audiences legitimization butwhomthey for draw meet and their influence oncollectiveidentities. New in Yorkfilmfestivals queer canLGBT considerable have influence on communities. festival circuit; and(2 organizers community survival. legitimization and institutional question ofin order Festival’s toask the same functioning inthe dynamic f criticizing the pre In themanifestoanalysis 5 spatial focus through analyzed heteronormativity to resistance of chronotope the and activism; the bridges that chronotope conference the as art and o chronotope . 3 sented their relations with the local LGBTwith the localrelationssented whileover theiraudienceway, inanidealized

- organizational choices As discussed1 inChapter Program for“Loyal”Audiences Queer world memberships as tothebreadth memberships gay andmembersworld oflesbian community related f ce a year, field to ontheother theinstitutional hand,and which ace they with need cooperation with cooperation ( einl uens; h time the queerness; regional Ibid.

through programmingthrough set tothree :258) ) the institutional field.) the institutional

. in Section4.3

the

, queer researched that festivals have as been organizations terms of local funders , I, the argued that

changes intheir or He how showed -

pc o itretos ewe theor between intersections of space 158 .

Here

s ofactors In particular

( I lookattheir programming strategies problematic Joshua Joshua Queer Festival Zagreb these two ganizational politics overganizational time politics –

Gamson (1) audiences and , I, look at )

division between division festival (1996)

ield between how s

negotiate with the

analyzed tw organizers

t y, activism activism y, Festival he arts he they - art and and art ing -

on on o CEU eTD Collection “audience invention”. drawing while tastes audience’ pre the (queer internationaloutstanding of art invitation the by re/produced (partly queer of significance to claim their while audience, the creating and educating of that organi highly formation contributive ofthe tothe localand audience queer their tastes. festival. the newly therebyyear’s created demands, strategically re/producingfor theaudience thenext screen a month movieeach queer Zagreb thatinform industryfundingcontexts and making transnationalemphasizes localonthe both festival’s and influences o Loistaddition, Skadi the Festival’s field at easy theis institutional front, since it itsimportance. todisregard parties and yearcontactLGBT the with communitya thanonce international festival circuit Inconsidering thefirst 5.3 .1 Between zers nurture zers

uig h fsia we ad hogot h ya, t year, the throughout and week festival the During F : “ - beyond event actual the xsec o ti audience. this of existence That thefilm section is, of theFestival rom 2004on the festivals frameworks withinthe operate specificlocal community politics, of

their many other communitytheirevents. many other the d Community and theFestivalCommunity and Circuit

an active if paradoxical relationship with relationship paradoxical if active an

wards (2007)

two two , , set , uponcomparing severa the organizers haveandthe succeeded decided in I propose s

of that lasted only during the festivalthat lasted during only theweek of the yearof the relations legitimization

I call the strategy of constant work on forming the the forming on work constant of strategy the call I

that the and limit the scope oftheir decisions”

–

at the 159 those with those Queer Festival Zagreb

turned into a significant, consistent initiative initiative a into significant,turned consistent Still, it is it keepimportant to Still,

rm omnt ivleet n c of act an involvement community from Cinema Tuškanac – l US and German queer andl US German queer

through monthly film screenings,through monthly film the Festival’saudiences

their he

audience. T audience. rganizers decisionrganizers

ue Zge Festival Zagreb Queer to maintain andsatisfy has a morehas frequent a ) artists) is based uponbased is artists) ) . They to started

expending expending the question of film heir strategy is is strategy heir

( and the Ibid. festivals, Queer :8) In - .

CEU eTD Collection cultivation. of of setsecond world. art international and regional larger the to belonging of negotiation r to like would F the throughout articulated up counting time same the and toreclaim the p c to importance: prime of held manifesto 2004 the that issues the confronting of trajectories second the of strategiesprogramming F Zagreb Section 5 quee of meanings in participants passive. from far is which “consumers” by meaning of institution an asFestivalthe with theyartand of witness, works the with engagedcritically audience remain prov process interviewing and observation into them audience forming be may events festival the that desires audience reate a space for the (local) artists to engage with what queer what with engage to artists (local) the for space a reate

ocpulzto ad rgamn o qer r a practices as art queer of programming and conceptualization The strategy The become will what to relate and imagine to how of strategy organizational The po is it manifestos, the reading When

. estival’s 2, and hog epsr t lcl n itrainl ue art queer international and local to exposure through

. I am indebted to indebted am I . relations lt ti srtg o audience of strategy this elate the various r art, a art, r

“loyal” ublic spaceublic by of creating regional queer art queer regional creating of etvl aiets te ebr o adec atvl poue local produce actively audience of members the manifestos, Festival

–

s discussed in Section 7 Section in discussed s meanings with

audience n hm s n o te ilr o te F the of pillars the of one as them on sia’ eitne bt ot lal i is at year last its in clearly most but existence, estival’s the arts festival circuit and international art worldart international and circuit festivalarts the de

queering it. of the of Certeau’s insight into the “silent production” “silent the into insight Certeau’s was Queer Zagreb Festival Zagreb Queer

of key importance for the future of the event. In the In event. the of future the for importance key of Queer Zagreb ide insights into the ways how the members of the of members the how ways the into insights ide 160

.3 sbe o e tae o iaiig “hidden” imagining of traces see to ssible neto t te osdrto o Festival’ of consideration the to invention

; the queer festival chro festival queer the ; and regional/local queer audiences queer regional/local and

as a event. cultural

lhuh one uo a “loyal” as upon counted Although

in 2004 it is possible to possible is it 2004 in ness

f trans of means in the local context context local the in means Hwvr partic However, . sia’ legitimacy, estival’s

notopes as shown in shown as notopes “oa” “(queer)” “loyal” a

and international international and

– I

(2011, XXI) (2011, as processes processes as analyze

n 2012 in trace the tracethe while Queer ipant the the

at at is is s I

CEU eTD Collection of cycle the localalready andregional queerness has therebefore been that them. the stop unearthing and using productively and consistently never but ambiguously politics, and aesthetics organizers the strategy, “ unearthing and “planting” space search social movementstheArab in “ conference a the to program. film queer international an and Verde, Capo Mali, and Tunisia from performances dance contemporary new beginning end” and beginning touch thematically it as date to festival demanding most the is this terms program t actualized gets interest curatorial constant this programming, throughout traceable but manifesto, Festival last the and first cultivation attentive its i context regional and local festival last the and first the i mporting/exporting/transporting” closing theater piece by piece theater closing Queer f h frt conferen first the of and reinforcement reinforcement and This ambitiously drawn space for queer queer for space drawn ambitiously This “ name possibleto is it point, this At , for instance at the last Festival last the at instance for , Beginnings

End of the b the of End Zagreb F Zagreb .

” (2012b, 5) (2012b,

s a a te rga isl i concerned is itself program the as far as estival – eginning

by the festival series festival the by Raimund Hoghe Raimund for e t h 2003 the at ce n which queerness was already “hidden” already was queerness which n s

’ closing ten closing countries, countries,

the , running the full circle from the beginning to the end and end the to beginning the from circle full the running , manifes – post

beginning of the end” the beginningof Msut, Wiedlac (Mesquita, - tos as the as tos oils qer space queer socialist . As .

in the Balkan years the . ue Zagreb Queer And the forward to/through the past refers to the to refers past the to/through forward the And we hear in the 2012 manifesto: “ manifesto: 2012 the in hear we 161

strategy using the metaphors metaphors the using strategy . after

This This

strategy of “planting the term queer” in the in queer” term the “planting of strategy ritc and artistic

it cultivation s conception s

and theCaucasus While “endings” of the program the of “endings” While , n Lshfr 2012) Lasthofer and k, . It.

a n is ed i 2012 in “end” its and was devoted to the to devoted was performance art from Brazil and Brazil from art performance and its communities communities its and political solidarity reflects the the reflects solidarity political

of queer art is explicit in the in explicit is art queer of , with a 3 a with , its ruh vr ambitious very a hrough

like a seed awaiting for for awaiting seed a like e years. ten are presented through through presented are

es upon es egions - of gardening of hour marathon of of marathon hour In programming .

emancipatory

questions of questions n em of terms In .

ihn the within ih this With of queer queer of

refer fro to a to m s

CEU eTD Collection m the and existence its for legitimacy the of part hand, one the On multiple. corporate sponsorthey had only the since abstract remained negotiations these subversion, cultural for it use to funders 2013) Festival Zagreb Sub co Bosanac, Gordan So, the related necessarily to testify Festival York New Queer tit queer publishing into successfully festival art performance another organizing started they association years ten the In sponsors. media and sponsors, funders, manifestos. several that materia publicity the and infrastructure, organizational the for year, each in program artistic ambitious for budget big a procure to managed successfully Festival of point to made are vantage they as programs the from analyzed when visible as not are functioned Festival negotiations practical and relations The 5.3.2 versive Festivalversive observers harsh

Relating to .

The fields in which the Festival acted and exerted its influence from 2003 till 2012 are 2012 till 2003 from influence its exerted and acted Festival the which in fields The hl hs esnl tne a fr aig oe fo misra ad corporate and mainstream from money taking for was stance personal his While

h scess f the of successes the criticism of local city and state funding for funding state and citylocalof criticism

“Domino” which organized it had expended its activities in multiple directions: multiple in activities its expended had it organized which “Domino”

may be experienced as a series of negotiations and compromises to the actors. the to compromises and negotiations of series a as experienced be may

on relations with the funders, concretely corporate funders funders corporate concretely funders, the with relations on the to their community standing. community their to

In contrast, t contrast, In on many internal organizational discussions in the first years of the yearsof first the in discussions organizational internal many on Institutional FieldInstitutional - ietr f h Fsia, eiicd t round a at reminisced Festival, the of director

was theToyota in2005 n 2013 in be in Festival manifestos. Festival in be he last pages of each Festival catalogue bring tens of logos of logos of tens bring catalogue Festival each of pages last he raies ciiis n hi isiuinl il, and field, institutional their in activities organizers

n 2014 and e; raie a eso o te etvl abroad Festival the of version a organized les;

162 the actual institutional field within which the the which within field institutional actual the Al f hs ognztoa accomplishments organizational these of All .

Moreover, what seems as a success story to to story success a as seems what Moreover, that lent independent What is clear is that the Festival team team Festival the that is clear is What – l. In S In l. f the of

a carFestivalfor the Perforacije ubs

ue Zge Festival Zagreb Queer arts and culture is voiced in voiced is culture and arts ection 4 ection

since 2009 since - table at the 2013 2013 the at table .3 eaningfulness of of eaningfulness .3, I pointed o pointed I .3, (Bosanac in: in: (Bosanac ( Ibid. ; ventured ventured ; are are ) . Queer

– , the the ,

not not the ut

CEU eTD Collection yetsponsors, remainedcritical functioned Co cooperation. arts queer international through as as programming, international ambitious through undertaken was circuit festival arts the press, on andthe theFestival’sareputation work significant as arts event. good programming, professional of strategies through managed carefully was loyalty their to claim Festival’s the Similarly, audience”. “loyal Festival’s the of part another constituted Season Festival and projections, film monthly the of strategies the only community the meet general in Gamson asHowever, community. LGBT transnational and local the with connections its from came program its The Festival’s negotiation of the terms of their belonging to the larger arts world and world arts larger the to belonging their of terms the of negotiation Festival’s The

successfully the construction of the Festival as a major cultural player on the on player cultural major a as Festival the of construction .

L ikewise, the Festival audience audience Festival the ikewise, Queer Zagreb Queer (1996)

in in a complex a

pointed out, such claims are often rhetorical since queer festivals festivals queer since rhetoricalareoften claims such out, pointed –

s particularly for support ofnational arts culture and in

ce organizational team have extended this meeting ground to ground meeting this extended have team organizational

once a year during the festival week. We have seen how how seen have We week. festival the during year a once

institutional field between the demands the between field institutional 2013, also to the continuation of the Festival as the the as Festival the of continuation the to also 2013, crig h tid e o relations of set third the ncerning 163

composed

of the Zagreb arts events goers goers events arts Zagreb the of

of funders and funders of global te Festival the , .

map of map

well well

CEU eTD Collection w connection in theoretical concerns. visuality queering of practices the understanding for important p d I archive, entire the to justice do to feasible not is bu screenings, film immense is archive visual Festival The However, year. Festivaleach with changed visuality queering of tactics and claims the how individuate to me enables analysis the take non of terms the redefine to order in visuality IHere visuality marginalized despite community, thedangers ofby cooptation thecommodity culture. Hennessy Rosemary (1994) visibility. very that of terms the renegotiating of possibilities about 2 Chapter in discussed heterotopias. festival queer of potential political and art queer regionally of considerations performed art of works posters c This 6 erf

NEGOTIATINGFESTIVAL VISUALIT ormed art works in Chapters 4 and 5 and 4 Chapters in works art ormed hapter is devoted to the visual analysis of the ten the of analysis visual the to devoted is hapter

argue I have analyzed the functio the analyzed have I

admitted for a possibility of possibility a for admitted in order to explore the “queerness” of their visua their of “queerness” the explore to order in

– Festival posters as important documents in the Festival’s visual archive. Their Their archive. visual Festival’s the in documents important as posters Festival

aig iul eiss “qu semiosis visual making

that the the t also the temporary visuality temporary the also t Queer Festival Zagreb

, new political LGBT visibility in the post the LGBTvisibilityin political new , at the Festival in order to tie the focus on visuality with the the with visuality on focus the tie to order in Festival the at the Festival visuality cannot be limited to some t some to limited be cannot visuality Festival the ning of seeability, in Chapter 2 Chapter in seeability, of ning seeability e” hog iae, ritc n crtn practices curating and artistic images, through eer” – . Here I choose to choose I Here .

comprising not only the visual art exhibitions, and exhibitions, art visual the only not comprising

had in its ten years queering practices tenof relied on its had in 164 -

normative visibility in visibility normative –

brought forth through performance art. As it As art. performance through forth brought of redefining visibility on the terms of the the of terms the on visibility redefining of Y

iscussed some aspects of exhibited and exhibited of aspects some iscussed IN ZAGREBIN lity years , as well as well as , engage

of the of - Yugoslav states also brought also states Yugoslav

, as strategies of queering queering of strategies as , two selected works of art art of works selected two

Queer Zagreb F Zagreb Queer

the

to the analysis of two two of analysis the to

Croatian context. I context. Croatian en posters. en

ith my my ith estival

As As .

CEU eTD Collection of and visibility, prescribed as to reacting is this visuality of festival the elements what rather visual or the visibility traces follows that analysis The seeing. of ways hegemonic visible made is prac viewing which alternative through that as “seeable” the and intelligibility of horizon to the regimes on scopic emerge the by for allowed been has what as “visible” the between distinction “cultivate”. representations visual gen particular a as themselves, in posters the of years ten the over programs actual and statements programmatic formulated textually the to corresponding each Festival of years ten of visuality festival and material visual actual to relate strategies poste festival material research main the for implications discursive and visual formal its and visuality s this In time festival the actualizing and positioning ethno and I norms. patriarchal its also but society, Croatian the of normativity gender F the for aims intersectional the of manifestos the that seen already have We 6 .1

When analyzing the posters, it is important to keep in mind Hennessy’s mind in keep to important is it posters, the analyzing When posters the in semiosis visual the of analysis the do will I D Visual

posters. ection argu

s I wh In rs. ed w ecutr h itrae f hs eerhs an hoeia itrs in interest theoretical main research’s this of interface the encounter we ,

e as well that the F the that well as construction F ofTaboos: t olw, wl analyze will I follows, at no ue visuality queer into Queer Zagreb Queer estival and its audiences in proposing to confro to proposing in audiences its and estival ie o a atclr omnt ad n poiin o those to opposition in and community particular a of tices estival organizers employ a whole gamut of strategies in strategies of gamut whole a employ organizers estival

Festival re of vi of re - 165 sp the Festival itself would want to harbor and and harbor to want would itself Festival the ace as a queer antidote to the to antidote queer a as ace . The main analytical interest is to see if the the if see to is interest analytical main The .

estival

suality, can rewrite the rewrite can suality, how organizers’ textual and programming programming and textual organizers’ how ue Zge F Zagreb Queer

P osters

ftetnFsia years Festival ten the of estival straight

e ot ambitio out set nt the sexual and sexual the nt

loc Queer Zagreb Zagreb Queer al normality. al

(1994, 149) (1994, - imagery of of imagery nationalist us – ,

CEU eTD Collection the at Festival. thefor 2003 poster ofthe version as one used was image same me the that to confirmed exhibited flyer, 2003 the of image 42 41 F 3 the from drastically changed visuality Festival rem interlocutors my of none still sign, exit an “queerness” at hinting visually as seen be may image poster the of “Q” the with Festival first the of poster the also as flyer the in Festival the of recognizability visual the on emphasis growing the of telling also is indirectly and, year, first strategic of lack comparative of, fading This like. looked it what remember or it mention informants my of none almost and internet of normative visibility outandhome walls invitations as reminders and themontheir toput participants them have to inte the signs: exit as use their in found be to is seeability of limits the remains high that of traditional, p Festival of non make seeabilityas

estival information First three posters were designed by Sunčana Špriovan Sunčana by weredesigned posters First three As the posters of the first two years are not on the on not are years two first the of posters the As t s relatively is It Zagreb Queer

- normative practices of seeability possible. The analysis will show how th how show will analysisThe possible. seeabilityof practices normative anonymity

the visual potential of thesethe visualimages viewers. potential uptoits offered osters (and through them) through (and osters – Queer Zagreb Festival Zagreb Queer

, as discussed inSection 2 as , o non or , following years. The poster designer poster The years. following the name, website dates, the iult, I visuality, ifcl t find to difficult investment - - budget posters. The potential of the Festival potentialof The the budget posterstoexpend posters. remembrance that surrounds the first poster testifies to a a to testifies poster first the surrounds that remembrance

argue

Unstraight Museum Museum Unstraight

, creates images that disrupt heteronormativity, and and heteronormativity, disrupt that images creates , is tied to their visual impact, while their materiality materiality their while impact, visual their to tied is

pse o te first the of poster a in the F the in

(Figure 3 (Figure

Queer Zagreb Queer logo 166 , whose workat accessible is whose , – .1 rd ember it or have used it as such. While the While such. as it used have or it ember

estival’ . I find it interesting that although the 2003 the although that interesting it find I . as it will inthe followingyears.as will it

year on, this f this on, year ) 42 . – The image shows image The the in poster a in i.e. identity, visual s

ita qer archives queer virtual website no website 41 –

ue Zge F Zagreb Queer confirmed this confirmed the shape of the letter “Q” letter the of shape the lyer/poster contains the basic the contains lyer/poster r otherwise on internet, this is an an is this internet, on otherwise r www.xvision.org

simple graphic play graphic simple rest of the Festival Festival the of rest . The flyer designer designer flyer The .

variation of the of variation estival

e queering queering e .

on the the on –

as as CEU eTD Collection Figure 4 their walls exiting of illustration an as seen non gender and “Q inscription the with conjunction in only is It festival. o poster a be could it poster: this in provocation of strategy the over follow will that images poster the of all to contrast the over leaping figure human a of sequence animation an shows image Figure 3 The 2004 poster 2004 The

: :

2003 2004 .

poster poster - normativity on the streets of Zagreb. of streets the on normativity

(Figure 4) (Figure

(Queer Zagreb (Queer and flyerand

(Queer Zagreb(QueerFestival 2003b) appears somewhat more elaborate than the previous on previous the than elaborate more somewhat appears , none of my interlocutors mention this poster or have i have or poster this mention interlocutors my of none ,

Festival 2004b)

167

Although the activity of leaping may be be may leaping of activity the Although ueer Zagreb” ueer f any mainstream dance or theater theater or dance mainstream any f next next

eight years, there is no visual visual no years,is there eight

that that F it estival implies

logo.

e. The e. sexual t on t

I n CEU eTD Collection The Festival posters from 2007 till 2012 were created by Andre von Ah, Visual Arts Curator and and Curator Arts Visual Ah, von Andre by created were 2012 till 2007 from posters Festival The 44 the readership: weekly the to “queer” term Sexuality” Alternative the explaining of ways for searching and novelty of sense and the indicate 2003 activist in media Croatian inthe in articles of discussed titles the of Some as 2003. in well as 1990ies, the in articles “explai first was it circles, academic several in mentioned was concept the Although 43 designer same the by created were that by created was it insignificanceartistic its of because the on found be cannot it they termfamiliar meaning werewithofthe the English as far so in only though seeability alternative some enabled it communities, queer regional and Croatian the of members the for while all, at if “visibility” neutral relatively asfunctioned poster the of majority the not were events two first those at on going discussions political heated and program s The marker. linguistic foreign a and iconography visual neutral a through F the with mostly pointed outabove) whonotrouble understanding had “queer”. theword American wer poster the to relation in word the of recognition of sign only The yet. 2004 in viewers poster of lot a for translatable or meaningful directly

The 2006 poster was prepared by the designer duo Mario Anič Mario duo designer the by prepared was poster 2006 The T he linguistic history of the term “queer” in post in “queer” term the of history linguistic he The only thing that th that thing only The the of reception public unproblematic relatively such that suggest I been have not would “queer” word English the that remember to important is it However, Globus

- led

talked about “Gay Festival in Zagreb“ in “GayFestival about talked hrh f ul Gospel Full of Church an artist different from the producer of six of the remaining seven posters seven remaining the of six of producer the from different artist an sia ognzr’ taey n the in strategy organizers’ estival (2003) , the daily the , e 2005 festival poster (Figure 6 (Figure poster festival 2005 e - viewers. In Hennessy’s Hennessy’s In viewers. ue Zge F Zagreb Queer ned” to the broader public in media reports in connection to the first Festival Festival first the to connection in reports media in public broader the to ned”

Večernji list Večernji . I would rather assume this is possibly due to the fact that fact the to duepossibly is this assume rather Iwould .

ltr ofdnl rdcld y h 20 porm as program 2005 the by ridiculed confidently (later 44 . Similar to the poster, t poster, the to Similar . - Yugoslav region is discussed in detail in the Introduction. Introduction. the in detail in discussed is region Yugoslav

(2003) 168 on “Queer for the First Time in Zagreb” Zagreb” in Time First the for “Queer on estival

(1994) est i their in website is to er o msig h F the masking of years two first ić and Jele Dominis of the the of Dominis Jele and ić te rtss y h mmes f the of members the by protests the e 43

) shares with the previous two is that is two previous the with shares ) daily daily .

em, o te rae publ broader the for terms, oi list Novi he front page front he

poster reported on “Six Days of of Days “Six on reported

F est ubversive artistic artistic ubversive

dizajn rhv bt not but archive vl a t do to has ival

of the of (2003) - ured Zagreb ured visible visible , and the and , estival Queer ic it it ic to .

CEU eTD Collection site: April 14 accessed web Festival the (see Festival the of Director Communications Figure 5 the result ofnegotiations ofa between twoof process long them.She clarified: programitself wasvisuality thecatalogue chosenbutthe of director, and was poster by the proces the explained Špriovan, Sunčana poster, and catalogue 2005 the of designer The 2005. in visuality Festival’s of part important an as created purposefully was ambiguity This play. at child a to belongs hand the that knows one poster, the seeing to correspond together child playing the of face the shows catalogue 2005 the of page of effects the of program Festival 2005 the of questioning radical the parallels catalogue 2005 the of page front the of ambiguity The grip. that of affects the are what and gripping, is it bar iron of Zagreb Festival questions raises image the Visually, n h pse, n cud e ta i i a ent an is it completely different that see could one poster, the on bar the on hand the only see you where photograph the of part that with came (catalogue) material the of part first (visual) The

: 2005 catalogue

the institutionalization of heteronormativity on children. The image on the back back the on image The children. on heteronormativity of institutionalization the th

2013). 2013). 2005

solution came through discovering through came solution catalogue

h 20 pse iae (Figure image poster 2005 the

(Queer Zagreb(Queer Festival 2005b) .

(2013, 1) (2013, shows a gri child’s hand

–

so it is not clear if you are in the prison or what… Only what… or prison the in are you if clear not is it so

it is not clear to whom the hand belongs, what kind what belongs, hand the whom to clear not is it 169

irely different story, telling something something telling story, different irely

slow pping an iron rod (Figureanpping ironrod 5 6

. ny bevn te togeth them observing Only ). http://www.queerzagreb.org/?page_id=2 ly that whole story together. The The together. story whole that ly –

so that both images taken taken images both that so s to me me to s –

the photograph photograph the

r or er

CEU eTD Collection blurring through symbolized and play in found environment normative from image the of elements these of Both spinning. through blurred merry joyful as also him shows film the troubles, to addition In abandoned. s smaller, non a of hero the is he because argue, I designer, poster the and organizers Festival the byqueer as seen is protagonist The queerness. the of example another as the see poster I mind, in film With child. queer a of figure a as interpreted be could protagonist round. ou blurred is world outside the when play, year(‘s)”film “one ofthethis highlights Festi the make that reasons as life” city lists Japanese modern of and realism gloomy year”,and acting “exquisite last Japan in movies acclaimed critically most the of “one film this calls getting secretive of life a to parents their by abandoned siblings small four of tale moving a Koreeda, Hirokazu director the emerging Festival visuality aspolitics as its well understanding for central images 2005 the make questioning, continue still but presumptions, to viewer the push images poster and catalogue 2005 st visual The catalogue. the on fragment photography the than questions The image shows the close the shows image The happiness conveys image the terms, visual In film 2004 the from still a is image poster 2005 The a gives image poster the Indeed, -

go ihu fmlaiy ih h fl, n wud o ko i wih a te child the way which in know not would one film, the with familiarity Without - round. iblings safe and together, while keeping secret the fact that they have been been have they that fact the secret keeping while together, and safe iblings

- by on their own their on by - up of the ecstatic face of a renegade child, and the background the and child, renegade a of face ecstatic the of up Festival’s deliberately open approach to understanding understanding to approach open deliberately Festival’s differ - traditional childhood. He keeps his three other, even even other, three his keeps He childhood. traditional ent picture (Figure 6 (Figure picture ent

in modern in t due to the spinning movement of the merry the of movement spinning the to due t 170 val val

–

(QueerZagreb Festival 2005a,41) the boy is shown in the moment of joyful of moment the in shown is boy the in general. - day Tokyo. The Tokyo. day guess ooy Knows Nobody ), draws on other emotions and emotions other on draws ),

– , then quickly change one’s one’s change quickly then ,

the boy hero and the escape the and hero boy the – 2005 p 2005

rategy with which the the which with rategy as in the scene on the the on scene the in as

by the Japanese Japanese the by rogram booklet rogram –

represent the the represent .

- go - CEU eTD Collection opened upFestival’s visuality tomore directsubversiveness through imagery. became that I think this, of result a As closely.more much t and F the and in vicinity the in dormant if available visually are they itself, poster the non to childhood up opening equalities” and differences of importance of respecting Childhood of Heteronormativity children of potential F the on Figure 6 byof childhooda freedom visualizing possibly a as moment recoverable queer memory. environmentchildren” for is safest “the normativity as disguised Thematrix” heterosexual “the sign. as manifesto exit 2005 the an by conceptualized as poster the of effectiveness the for argue, I reasons, The subtle change in the visual strategy is that the that is strategy visual the in change subtle The he media, media, he : more legible both visually and textually to a wider range of viewers and therefore and viewers of range wider a to textually and visually both legible more sia tee Te 05 aiet crfly odd t cam o h transgressive the to claim its worded carefully manifesto 2005 The theme. estival estival name function in th in function name estival 2005 poster intrigued

(Queer ZagrebFestival (Queer 2005c) –

by the F the by still framing it as the mission of the Festival’s questioning of of questioning Festival’s the of mission the as it framing still (2005a, 6) - normativity and subversion may not be immediately seeable in seeable immediately be not may subversion and normativity : estival’s provocativ estival’s “the e image. In addition, times have changed already in 2005, 2005, in already changedhave times addition, In image. e . The poster works as an exit sign heteronormativity Theworks from exit poster as . an potential of all children to grow up as people aware and and awarepeople as growup to childrenall of potential 171

since

e theme, are commenting on the F the on commenting are theme, e image of a child a of image

its 3 its ( Ibid. rd )

year, . Although the implications of implications the Although . the

playing draws directly draws playing which the child figure figure child the which Queer Zagreb Queer

posters estival

CEU eTD Collection mixing ofworldsgenres. and image diversity genres unrelated seemingly S In “ the and inthe image implied cul queer for significance the with also resonates announced written inEnglish. way inthis are Fashion Porn Theater t Hence, t performer’s bodytoarticulatemessages abou choice d male a work not mitigatedimagerywill transl already - Theater shirt “ ubs Fashion , for the more knowledgeable ones ones knowledgeable more the for , – ne fo te ac performance, dance the from ancer starts the F the starts clothes to attention draws that posture the dancer, a shows image poster the Although 2006 the of poster The The 2006 image is modest and simple and modest is image 2006 The cin 5. ection

. Here, it is important to notice that the poster performs the same work in a single single a in work same the performs poster the that notice to important is it Here, . ” e et none the announces text he queering a seemingly innocent dancer’s potential to signify transgressive cultural cultural transgressive signify to potential dancer’s innocent seemingly a queering

segments, the the segments, ”

ated “queerness” for Croatian viewers. Within such an “outed” context context “outed” an such Within viewers. Croatian for “queerness” ated emn o te rga cn aiy e eae ad i wt the with fit and related be easily can program the of segment 1. estival designer’s visual strategy of choosing the image of a, usually male, male, usually a, of image the choosing of strategy visual designer’s estival 2 I ae discussed have I , ” .

“ – t hud e oe ta te or emns f the of segments four the that noted be should It ture. The visual proximity of “Dance” and “Fashion” “Fashion” and “Dance” of proximity visual The ture. Porn

are not the only ambiguous relations available on the poster. While While theposter. relations availableon onlyambiguous are notthe “

Fashion

s n ntne f n raiainl taey f progr of strategy organizational an of instance an as ”

segment seems odd in relation to mostly h mostly to relation in odd seems segment ue Zge Festival Zagreb Queer unexpec nymore. The 2006 image7 (Figure 2006 Thenymore. ”

segment of the Festival’s program, and fashion’s fashion’s and program, Festival’s the of segment h wy i which in ways the – el pooaie hm o te F the of theme provocative tedly

a dancer from the famous choreographer’s show choreographer’s famous the from dancer a wn Lake Swan 172 t queer art in generalF artand the in t queer

: for the majority of viewers viewers of majority the for

iue i a utrl otx o an of context cultural a in figures ietd y Raimund by directed

h porm us n dialogue in puts program the ) is )

a production still of aof still production a - igh estival itself.

a young a estival:

- culture genres. culture 06 program 2006

“ – Hoghe. This This Hoghe. Dance

spelled out spelled

man in a a in man amming “ Dance Dance ”

and and – .

CEU eTD Collection theaterplush curtain. gender of performance Dimchev’s 2007 poster that characterized by is some visualshock clamorous the through confirmed assumption this see I enough. not were frankness textual with for combined if simplicity As visual it. of about strategy asked the when memorability, archives home or memory own their in saved it have to initially. flirted just organizers t mentions interviewees my of none that the note to interesting is it However, which with intelligibility and visibility the gained Fig ure 7 ure ue Zagreb Queer - The most talked most The the as well as poster this discourse, public Croatian the In queer body in high heels, wearing pearl highheels, body in queer : 2006 poster

F (Queer ZagrebFestival (Queer 2006b) estival - about poster both within and outside of the queer community, is the is community, queer the of outside and within both poster about Lilly Handel Lilly

mg. h pse oiial ue the used originally poster The image. . The image ( image The .

173 - jewelry, and jewelry, -

effect.

igure 8 igure make up, make ) shows the performer’s the shows ) reactions to the 2007 festival 2007 the to reactions

F estival it represent it estival

while rdcin still production his poster or seems or poster his he’s pullin he’s

s g a red red g a

o , have have , naked naked Ivo f CEU eTD Collection in I 2), visuality. Festival Chapter in (discussed sign exit an as potential its to Due Festival. the front catalogue 2007 visuality Festival discussing of thepurpose to significantly adding not mentioned catalogues Festival the four of thein solutions graphic abstract theirsimple 2004, 2003, (in Festivals 45 images queer embodiment of face. his of front in trumpet a holding and heels, high wearing (Figu shows It performance. same 2007 in differ images two the catalogue, Figure 8

Not only in the case of the 2005 and the 2007 Festivals discussed here, but also on the occasion of four other other four of occasion the on also but here, discussed Festivals 2007 the and 2005 the of case the in only Not While the i the While

: 2007 poster

- page is often mentioned by my interviewees as one of the most important visual images of of images visual important most the of one as interviewees my by mentioned often is page mage on the poster is often the same as the front page image of the Festival the of imagepage front the as same the often is poster the on mage

2010 and 2011), the images on the catalogue and on the poster differ. However, I find find I However, differ. poster the on and catalogue the on images the 2011), and 2010 (Queer ZagrebFestival (Queer 2007b) , thedesigner vonAhdecided Andre both touse them

e 9 re –

this )

45 is why I do not analyze or reproduce them here. In contrast, the the Incontrast, here. them reproduce or not analyze do whyI is armchair, an in seated body naked performer’s the . The image on the 2007 catalogue comes from the from comes catalogue 2007 the on image The .

174

Confronted with two strik two with Confronted clude it here in the discussion of of discussion the in here it clude (2012) .

ing CEU eTD Collection high a advertising as recognizable are dates, its and Festival” Zagreb “Queer name the with together that, prints expensive and glossy materially are image cat the both tradition: poster mainstream to belonging as interpreted sexua and embodiment gender performer’s of readability easy confuses powerfully which depicted, figure o iconography the of because queer as seeable are images two The visuality. Festival performer embodied alternative an of image an through representing and home taken often favor their in deliberate authorities the make to failed but police, the to petition the submitted They from removed it wanted who citizens concerned of group a by against ima The public. Croatian the in and media the debatein much with met Figure 9 .

At the same time, this is the is this time, same the At In general, the strategy of visually deconstructing sexual and gender normativity normativity gender and sexual deconstructing visually of strategy the general, In The : 2007 catalogue

ilor vers billboard Queer F Zagreb

put . In contrast, the chosen stylistic means by the poster designer can be can designer poster the by means stylistic chosen the contrast, In . (Queer Zagreb(Queer Festival 2007c) o o te 2007 the of ion estival n rvt w private on

poster .

mos ls Agal, t s h ms sbesv image subversive most the is it Arguably, alls. aaou front catalogue 175 t popular t

among my my among - - figure is the preferred strategy of of strategy preferred the is figure page

- art event. Still, I think it is is it think I Still, event. art Fgr 9 (Figure interviewees

ge alogue and the poster poster the and alogue

their neighborhood. neighborhood. their was nvrhls was nevertheless ) even , the one most most one the , petitioned petitioned lity of of lity the f CEU eTD Collection on their walls refusing identification on based is poster this of strategy representational lesbian” figures, two “AL exhibition Figure 10 and wearingg non its is image the about telling most is what though poster The institution. Arts versio andof escape offeringfigurations toothers. visuals transgressive as function do streets, Croatian of space public the subversiveness the that emphasize to important

f arb that Zagreb of n of a drawing a of n The poster image is based on the work of young artist Lea Kralj Lea artist young of work the on based is image poster The The , : 2008 poster eyn ad esalsig h vsa cnoain o te figures the of connotations visual the reestablishing and defying ue Zge F Zagreb Queer . This seemed attractive to my informants informants my to attractive seemed This . cartoon a in text a incorporated also . as

Uding” discussed in S in discussed Uding” - masks, resonating with aCybermasks, resonating figure iconography.

that

ie t challenge to aimed (Queer Zagreb(Queer Fgr 10 (Figure

was part of part was estival )

hw to iue of figures two shows

p the

ubs Festival 2008b) oster

exhibition by young students of the the of youngstudents by exhibition ection 5 ection

h heteros the 176

2008

of the poster images in themselves, placed in placed themselves, in images poster the of

. 1 - .1 ie bubble like

s a is . One of her of One .

- humanness. They are They humanness. when asked about the about asked when xs ad oohba ihn the within homophobia and exism

iuaie poster figurative undecidable “ : You ay ujc pstos for positions subject easy draw

are too pretty to be a a be to pretty too are edr n sexuality, and gender ings, showing similar showing ings, - Jager, shown at the at shown Jager, –

– draped in cloaks, cloaks, in draped Academy of Fine of Academy disturbing some, some, disturbing

ir poster choice poster ir p a hotographic hotographic . The The

CEU eTD Collection interpreted publ been Croatian the have in differently they bodies, performer’s male of images aestheticized highly are caused the 2007poster. public offencewith almost graphic given surprising performance, b radical Figure 11 ofgaycontext practices. sexual alternative c red a for except is down upside hanging figure The pieces. performance previous his from 2009 his of not was though, Johnson, Dominic o e f the of ne Although both the Dimchev and the Johnson stills Johnson the and Dimchev the both Although r imagery The my of Many d at n atraie eul rcie sc a SM An S/M. as such practices sexual alternative and art ody : 2009 poster ot attractive most the the body oh The loth. interviewees eflects the visual strategy of a of strategy visual the eflects

(Queer Zagreb(QueerFestival 2009b) turned into art itself art into turned ue Zagreb Queer

nls f i legs his of ankles ic sphere: misinterpreted in the case of the first, and under and first, the of case the in misinterpreted sphere: ic - aens o te efre’ body performer’s the of nakedness

also mention the 2009 the mention also

images

177 this poster did not cause a stir in pu in stir a cause not did poster this

Transmission

are Te tl o te rts qer p queer British the of still The .

esthetization of graphic representation of representation graphic of esthetization ed p y chains, by up held

Queer Zagreb Queer on

perf the 2007 and the 2009 posters 2009 the and 2007 the ormance at the F the at ormance

image from a body art art body a from image –

something something poster (Figure 11 (Figure poster

r sntn wt the with esonating

lot naked, almost blic. This is This blic. estival but but estival which has has which erformer ) as as ) - CEU eTD Collection oppositionalityits toCroatian culturalreligious traditiona and I motive, religious fi the man” a as functions also connotations, religious v The man. younger a with love his chronicling poetically Pasolini, Paolo Pier writer Italian famous the of diary the on based is performance company, Slovenian reworked Catholicism. and sexuality so Croatian in taboos sensitive most the of one upon touch to interpretationalof the practices Festival participants poster 2009 The masculine. as read was body performer’s the of nudity the because offence cause the image that didnot It me to grasp seems image. cultural ofthe the fully queerness to capital seem poster 2009 the of viewers mainstream Croatian the context, British in practices sexual and sexuality alternative reference clearly chains and boots leather black in body naked Johnson’s although Interestingly, context. Croatian in offence cause directly queerness signify to seems interplay visual in accessories feminine and body male bringing case, this In 2007. in poster the against police the with complaint a filed had interpretatio high “feminine” in body performer’s male naked a of implications visual the that seems it me To poster. second the of case the in interpreted guration of a gay martyr. In addition to been queer in its visual deconstruction of a canonicala deconstructionof visual its in queer beenIn to addition gayamartyr. of guration sad youngm sad

type of figuring gay male sadomasochistic beauty and sexuality, and beauty sadomasochistic male gay figuring of type is In its eight year, the v the year, eight its In

admired Pieta ns on the part of the concerned members of the of members concerned the of part the on ns

an still from still an mg fo te hae performance theater the from image

and taken home by many of many by home taken and suggest lvnk Maiso Gledališče Mladinsko Slovensko

that the queerness of the 2010 poster was constituted also through through also constituted was poster 2010 the of queerness the that Kenneth Anger’s Kenneth isual strategies of the Zagreb F Zagreb the of strategies isual The 2010 ue Zagreb Queer

reworking of Richard Dyer’s Richard of reworking 178

film film

. Fireworks

isual interviewees, which testifies to different to testifies which interviewees,

- heels have triggered the stereotypical stereotypical the triggered have heels md mio Amado ity of this image, besides obvious obvious besides image, this of ity

poster Soein ot Theater) Youth (Slovenian estival got even bolder in daring daring in bolder even got estival lism. lism. Church of the Full Gospel Full the of Church ciety

(1947)

Fgr 12 (Figure

– y h to cos f the of actors two the by

to have lacked sufficient sufficient lacked have to the relationship between between relationship the -

analyzed by Dyer as a a as Dyer by analyzed and is and (2002) ) represents the the represents ) reminiscent of of reminiscent

sd young “sad .

who who The The and and CEU eTD Collection im the with dialogue to openness any of down closing This down. torn were posters 2010 the against, petitioned was poster 2007 the While Festival. the of beginning the organi P 2010 the nudity, male comparedeven the2007poster. to tothe reactions remains reverence of worthy Croatia. and catholic in sacred provocative is what of understanding received queering normality local the guarding taboos strong are there that showed iconography remaining present still Zagreb in posters streetswere few. down torn were them majorityof sprayed, 9 Figure 12 ta (o uepcel) rvkd ninn pbi ratos Te 00 it pse got poster Pieta 2010 The reactions. public indignant provoked unexpectedly) (not that ) zing: it lead to an ad an to lead it zing: hl te 07 ice pse dsubd ulc rpit truh t que its through propriety public disturbed poster Dimchev 2007 the While re homoerotic a imagine to daring of strategy Visual two the of other the is This

and vandalized throughout Zagreb. From the who the throughoutZagreb. From vandalized and : 2010 poster

(Queer Zagre(Queer ea otr em t hv pope ecpinl ntne f self of instance exceptional prompted have to seems poster ieta - hoc “activist” campaign of tearing down all of the posters before before posters the of all down tearing of campaign “activist” hoc (Ines 2010) (Ines h rcpin f h 21 p 2010 the of reception The Festival b Festivalb 2010b)

poster , and on the day of the 2010 festival opening, the opening,the festival 2010 the of day the on and , 179

s (in addition (in s

le edition of some 1000 posters, the posters, some1000 of edition le

se mt ih oe hostility more with met oster to the Dimchev poster, Figure Figure poster, Dimchev the to - mgnn o religious of imagining g hs o be to has age -

a gay p gay a ering of of ering ieta -

CEU eTD Collection archivesfestival of visuality. inviewers’mental posters ironicallymultiple 2011tostand out from a poster single prevented w posters likable as them acknowledge althoughmyinformants However, performingbody. the sexuality and/orof gender expression non of implications on based are posters these in queerness of strategies The comments. media there were nor heteronormativeexpectations. sh that recognizable point this at to faithful remainposters six these Visually, performances main the lists poster the publi the to versions six all offered and solution, poster one to down choice their narrow to need not did they that decided they exceptionally, 2011, In team. supporting his and posters the of designer the as him between Ah von Andre performances. 2011 six are there queer. propose man of rendition visual poster’s 2010 statement than representa read contentious as more even non of representations the with Pieta the of meaning the connecting Croatia, In contextualized. - normative sexuality, which according to Vatican’s official position is a sin in itself, is is itself, in sin a is position official Vatican’s to according which sexuality, normative ows a still of a performer’s body that simultaneously attracts queer looks and questions questions and looks queer attracts simultaneously that body performer’s a of still a ows

posters of series this about talk informants my of none that though, interesting, is It The

that its mobilizing effects at the occasion of the 2010 Festival rendered it regionally it rendered Festival 2010 the of occasion the at effects mobilizing its that

iult o te 2011 the of visuality

poster s representing the Festival the representing s

ue Zagreb Queer (2012) c as Festival posters. In all six posters, the textual part of part textual the posters, six all In posters. Festival as c - to hen reminded of them, it seems that such a strategy of of strategy a such that seems it them, of reminded hen - , man passionate love relation is deceivingly simple. I simple. deceivingly is relation love passionate man

F explained to me to explained estival estival 180

(Figure 13 (Figure

Festival raie, n F and organizer,

yblc ersnain f embodied of representation symbolic tions of transgender oftransgender tions ). All of them are the stills from the from stills the are them of All ).

in an interview many negotiations many interview an in s xetoa i is multiplicity: its in exceptional is - normativity and playfulness of of playfulness and normativity estival name and dates. dates. and name estival Queer Zagreb Queer embodiment

visuality . The

CEU eTD Collection embodimentofits transformation” political without Although enigma… andancer, her in life to a boxer, a brings machine, a cannibal, a entertainer, an puppet, a clown, “a Guintche, she is performance character mysterious the words, own artist’s the to According o performances noted most the of one was which Verde, Capo performance the of Figur e 13 last the of poster The : 2011 posters Guintche

(Queer Zagreb(Queer

Queer Zagreb F Zagreb Queer by Marlene Freitas, a contemporary female dance artist from from artist dance female contemporary a Freitas, Marlene by

(2012b, 23)

Festival 2011b) 181 estival

intention, Guintche is intrinsically political in intrinsicallypolitical is Guintche intention,

in 2012 (Figure 14 (Figure 2012 in

te las the f

) is a production still production a is ) Zge F Zagreb t estival. estival.

CEU eTD Collection the at curator in English. conducted and designer a as working and 2005 in 46 t invitations expensive glossy,as functioned alwaysmaterially posters the since limits certain within remained queering This genre. poster the queering with mainly worked it that various t means graphic used visuality Their space. heteronormative queering and art queering of project Zagreb.queerness of the indicate to visual this than way better no a of think could he and image, this of power the constitutes ambivalence the Andre, For implied. finishing is Ah von Andre designer poster a face the become and face, ha as functioning longer No closed. one eyes Guintche’s painted abstractly two showing outwards facing palms with hands by covered eyes both and lipstick, red bright wearing blue, metallic in painted skin her Figure 14

Andre is originally from Brasil, where he has collaborated with a local quee local a with collaborated has he where Brasil, from originally is Andre The ten annual posters of the of posters annual ten The it ambivalent: equally is poster the on image The

: 2012 poster -

whether it is closing its eyes or looking into the “queer future”, as the manifesto manifesto the as future”, “queer the into looking or eyes its closing is it whether o represent questioning of heteronormativity, and in this way, we could say say could we way, this in and heteronormativity, of questioning represent o

(Queer Zagreb(QueerFestival 2012a) nd the closed/open eyes of the F the of eyes closed/open the nd 46

(2012)

Queer Zagreb Festival Zagreb Queer

about the about nds, these “looking” palms function as a part of her her of part a as function palms “looking” these nds, 182 ue Zge Festival Zagreb Queer

symbolism of this look for the F the for look this of symbolism optimistic uncertain future of post of future uncertain optimistic

ersns unceMree with Guintche/Marlene represents estival at its end. I have asked the asked have I end. its at estival

represent the Festival’s double Festival’s the represent r festival before coming to Zagreb Zagreb to coming before festival r

ic te. h itriw was interview The then. since –

one open and open one estival that estival - o a higha o festival CEU eTD Collection ZoricaZagrebQueer and f cry their traveler, oh Remember, Nazor. V. satyr met Kovačić I.G. centaur place very this at Zabludovsky, H.C. of help the brings inscription The t the of intersection the at plaque Zabludovsky’s of consisted however, performance, the of moment actors. professional by poetry Nazor’s and Kovačić’ of reading a company; dance by performances included event t devoted Zabludovsky, by piece the affair love improbable, possibly analyze will I following post through possible made visibility new about think to order in s This 6 signsas that exit have seeability enabled ofqueernessandqueer art inCroatia. their people’sat on walls up put posters Festival space.Many public non showing non and posters performers the of visuality the However, event. culture .2

Croatian cultural canon. In 2007, the 2007, In canon. cultural Croatian ection focuses on one work of art through the the through art of work one on focuses ection

(see Figure 15 Figure (see Performing Regional Performing Queerness o two lauded Croatian writers, namelywriters, Croatian lauded two o - heterosexual figurations of sociality appeared as exit signs in Croatian Croatian in signs exit as appeared sociality of figurations heterosexual )

in the artist’s p artist’s the in to the to the ” wo streets named after Kovačić after named streets wo . h life the

fictional fictional imaginary

in the the in Le Zbor Le

or beloved dizzying freedom; in Zagreb, May 2007, May Zagreb, in freedom; dizzying beloved or story of a certain queer artwork that that artwork queer certain a of story performance ersona as the text reads: text the as ersona heart of the city of Zagreb of city the of heart love affair of affair love , the Croatia’s Croatia’s the Queer Zagreb Festival Zagreb Queer 183

Ivan Goran Kovačić and Vladimir Nazo Vladimir and GoranKovačićIvan

persona of the Croatian artist Željko Zorica, Željko artist Croatian the of persona lens the first lesbian choir; a string quartet; a a quartet; string a choir; lesbian first

of two authors. The plaque was placed was plaque The authors. two

and Nazor in the center of Zagreb. of center the in Nazor and the concept of regional queer regional of concept the “ As the war was dawning, with dawning, was war the As

- – ended with a performance performance a with ended Yugoslav queer art. I art. queer Yugoslav

homes testify to their use use testifytheir homes to and at the very center very the at and unv - normative bodies of of bodies normative stages an invisible, invisible, an stages eiling a memorial memorial a eiling

The central central The

Željko r. The r. n the the n ness of of

CEU eTD Collection space and intodifferent time beings get or transported objects 48 Tsianos and Stephenson Papandopoulos, Guattari’s and Deleuze 47 theythat indications the and relationship, Nazor’s Croatia, in movement lesbian and gay i space geopolitical signs memory 2007b, 34) insights “ as function to plaque the for hope his explained poem festival Festival 2007d) 2007 the at plaque the of inauguration performative the at Dobrović Figure

My interest in the work of visual representation of queerness as exit signs draws on the reconceptualization of of reconceptualization the on draws signs exit as queerness of representation visual of work the in interest My n h Sine ito gne prasgtssagts r te entranc the are portals/gates/stargates genre, Fiction Science the In 47 - rtn sessions writing

I would like to imagine that those “ those that imagine to like would I A

from 1 into 5 sked for an explanation of this cryptic this of explanation an for sked which Ats Žlk Zrc and Zorica Željko Artist : .

the free zones within the occupied g occupied the within zones free the heteronormativity or as or heteronormativity

has not kept track of the lives of its que its of lives the of track kept not has n ins e fuite de lignes which they flash. Dean Vuletić Dean flash. they which f h tre rtgnss n h ee f h Scn Wrd a. He War. World Second the of eve the on protagonists three the of

, lines of flight, as as flight, of lines , ( 2008 portals

) . See Introduction for the discussion of the concept of concept ofthe thefor discussion Introduction See .

ue Zge Festival Zagreb Queer investigated free z free 48 184

that offer that text, the artist the text,

eographies of collective memory” collective of eographies ones” that reclaim the gap the reclaim that ones” would run would sae routes escape a referent point wherefrom to transmit the transmit to wherefrom point referent a (Prucher 2007, 76) 2007, (Prucher

(2003) the

unexpected er iey uos rud Kovačić around rumors lively es into other dimensions through which which through dimensions other into es

citizens function as possible possible as function citizens

in his work his in awayt

mus

rm oto i te 21 the in control from rga direct program ed about the about ed .

o j o mobility

oin partisans during the the during partisans oin on the history of the the of history the on

in the collective the in in the particular the in

(Queer Zagreb (Queer wine r Zvonimir or st

- (Matejcic exit sign exit etr by century drinking

exit and .

, CEU eTD Collection reported when existence, regional its to more once drawn was public wider the of attention in fit it rather or forgotten of sort offic an not and performance a all, the during place in plaque the leave to authorities city the workanonymous for vandals. translation the performed have might and 2009, August in destroyed was plaque the before the of mention no was there Although in as media, the Vuletić of Friendship” Tender a to “Ode allusively “ media cover War World Second ao ad Kovacic and Nazor

up those rumors by thecanonizing ofnatirumors by processes up those the most most the the of organizers The posthumous provocative this Interestingly,

that it had been vandalized hadthat it been newspap ’s work by the daily newspaper daily the by work ’s

the article entitled “ entitled article the at the time of the of time the at r ( ers

in order to be to be to order in o Ter ue Mmra Plaque” Memorial Queer Their Got Danas

ad nent otl ( portals internet and ) Queer Zagreb Festival Zagreb Queer ially approved ially

Queer Zagreb Festival Zagreb Queer gether. He also uncovered also He gether. (seeFigure 16 with I.G

memorial plaque, this article appeared only two months onlymonths articleappeared two this plaque,memorial . Kovačić .

(Matejcic 2007a, 15) 2007a, (Matejcic the Jutarnji list Jutarnji 185 urban

and Nazor Were Lovers” Were Nazor and ) cultural homage. However, the plaque was was plaque the However, homage. cultural

“outin land

caused the renewal of this of renewal the caused had had ne, pra, iea Gay Libela, Tportal, Index, scape onal Yugoslav historiography g”

obtained permission permission obtained following in 2007. The headlines The 2007. in

is what interested interested what is . Two years Two . 34) 2007b, (Matejcic . the equally persistent equally the

It was only in 2009 that the the that 2009 in only was It

six months. It was, after was, It months. six

after, the discovery discovery the after,

( Jutarnji

in 2007 in Croatian and and Croatian discussion in discussion the

read efforts to efforts

Croatian or more more or 2009:1) - Serbia .

from like: like: ) .

CEU eTD Collection s poems, their read all we citizens: Yugoslav to went and from beingwithout authorized permission years two some for Zagreb of inhabitants How obituary. against persistence creativityand for in stand to comes historiography this invisibility and silence the to and Croatia, in into research of absence the to attention drawing as piece hatred? 16 Figure ldmr ao big a reco a brings Nazor Vladimir the

In a very direct sense, we can speak of regional queer regional of speak can we sense, direct very a In 2007 In ” the lack of any f any of lack the an

(QueerZagreb former Yugoslavia the commemorat the Yugoslavia former :

elementary school named after Ivan Goran Kovačić, and so did did so and Kovačić, Goran Ivan after named school elementary expired “ Homophobes destroyed the plaque to poets Kovačić and Nazor because of of because Nazor and Kovačić poets to plaque the destroyed Homophobes

vr te at ean ta the that remains fact the ever, te etvl organizers festival the , Mtji 20a 1) 2007a, (Matejcic –

the precariousness of queer art and queer li queer and art queer of precariousness the h pau cniud o ucin s qu a as function to continued plaque the

Festival 2009c) urther public notice of the destiny of this artwork this of destiny the of notice public urther . The . to doso brief .

nto o hushed of gnition

T . article and the photo that accompanied it accompanied that photo the and article e etuto o te plaque the of destruction he

itriwd o te weekly the for interviewed , 186 , and the majority of that time time that of majority the and , ion of a love affair between Ivan Goran Kovačić Goran Ivan between affair love a of ion o, this sense of intimate recognition of queering of recognition intimate of sense this o,

aspect of their lives is lives their of aspect odn o te lqe a pzld the puzzled had plaque the of wording - up

consequence the history of lesbian and gay artists artists gayand lesbian history of

precisely because for a person person a for because precisely fe in Croatia in fe e pra, as portal, eer

n 09 n y reading my in 2009 in s Vjesnik

of of fated fated , many other former former other many a

can be can

ue alac. I alliance. queer (Index.hr 2009) (Index.hr , but also for its its for also but , ,

in xlie the explained – n xt sign exit an

the

though its its though read as an an as read national ,

CEU eTD Collection not my and readers. 2009, 2007 49 thesis in burst heteronormativity this writing of time in point current continua turbulent the Skopje Ljubljana, Sarajevo, Belgrade, (Zagreb,festivals the Film Lesbian non generation, post younger a to belonging approval; official and authenticity cultural piece, the of framing art value, face queerness regional of sign exit misinterpretati Yug an plaqu the of sighting haphazard perhaps normative at/around identifications thepseudo thelocation of the the establishing theconstitutes “regional” inthe regional queer two

Here I am imagining a possible passer possible a amimagining I Here

explanation of explanation - region hist oslavia normative sexualities normative literary T Fo “queer” The

orical gossip out of proportion and simultaneously creates simultaneously and proportion of out gossip orical he visual life of the fake plaque can be read as a metaphor of the new visibility of of visibility new the of metaphor a as read be can plaque fake the of life visual he r the plaque the r

were ad h ats’ trick artist’s the and , one one not might

os f h scait period socialist the of cons in Ljubljana in on of this monument bring to light its light to bring monument this of on

miss only veracity of Kovačić and Nazor’s sexuality or alleged relationship, but blows but relationship, alleged or sexuality Nazor’s and Kovačić of veracity the writers’ the

at ees o h sniiiy hrb te efrac de nt i at aim not does performance the whereby sensibility the to refers part getting started getting

tion of Pride activism Pride of tion to make sense, one’s sense, make to

out on the meaning and the word the and meaning the on out

one misreads its conventional “looks” conventional its misreads one

, starting in 1984, was the o the was 1984, in starting , experience theimportance to

in the post the in

the

significance for for significance . Not understanding the language it’s written in or taking it at at it taking or in written it’s language the understanding Not .

space/time of weeklong festivals, have gained have festivals, weeklong of space/time - by at the intersection of Kovačić and Nazor’s streets in Zagreb between between Zagreb in streets Nazor’s and Kovačić of intersection the at by

n rnig hm n relation in them bringing in

in 2001 in

- Yugoslav region Yugoslav e at e – 49

. Since then, there then, Since . the intersection of the Kovačić and Nazor streets; streets; Nazor and Kovačić the of intersection the

(Sagasta 2001; Simic 2001; Hvala 2011) Hvala 2001; Simic 2001; (Sagasta 187

y h audience/spectators/passers the by entrance to the regional queer c queer regional the to entrance

of LGBT people in people LGBT te ritc n pltcl contestations political and artistic the ,

post of

- nly festival around; festival nly functioning in the mode of a portal a of mode the in functioning Yugoslavcountries . Until 2000, the 2000, Until . the , Novi Sad Novi , - play; not knowing not play; poets’ queering. queering. poets’ - monument. has been has

and placement as representing representing as placement and successor countries to former to countries successor Nmru pos Numerous . ), feminist art festivals, and and festivals,art feminist ),

access access

a resurgence of queer queer of resurgence a Festival of Gay and and Gay of Festival .

the Pride parades Pride the -

war/post to imagining to

the performance the ould start with start ould

- foothold and and foothold iiiis for sibilities by, I argue, argue, I by, - transition . At .

non the the

or or of in

a - -

CEU eTD Collection Tropicalismo leading t by directed was (F p collaborative 2009 theatrical of performance hete 1 Section Foucault’s of usefulness the demonstrate to like would I Here 6 inthearenapossible the visualand of same the is u workThe alliances, solidarity, of meaning and terminology practice into characterizethat the of organizer approaches toputting public signsspace. queer in visib emergent of cycle this platforms, become . 3 sia vlner) rm h post the from volunteers) estival

In Performance Hetoro Theatrical Collaborative as a Queer queer regional of understanding My

xedd ptal ad temporally and spatially extended rit o te Braz the of artists

.4 2009, the the 2009, and The actions. regional queer , for understanding understanding for , ndertaken : local and regional expressions of queerness are reframing the terms of what is is what of terms the reframing are queerness of expressions regional and local : . The piece lasted more than three hours, and involved a large number of actors actors of number large a involved and hours, three than more lasted piece The . through ee f h Braz the of iece Red Dawns Red post he internationally renowned Braz renowned internationally he Festival - through creating through Yugoslav “ building connections between generations, but also reclaiming the the reclaiming also but generations, between connections building

closed with the theater play theater the with closed ilities feminist and queer and feminist la post ilian The Banquet Queer Zagreb Festival’s Zagreb Queer feminist and quee and feminist ilian ilian

as well as in the shared the in as well as - uolv ein Ti re This region. Yugoslav the political. the political. eto Officina Teatro

regional queer regional - colon

is to be found inamutuallycompre be is to

as an instanceas an ofheterotopicspace. 188 is closely related to what Tea Hvala Tea what to related closely is – a eprmna sca ad r movement art and social experimental ial

festival in Ljubljana, calls calls Ljubljana, in festival oe f hm hog year through them of some

r festivals. T festivals.r

and

ilian theater director Ze Celso, one of the the of one Celso, Ze director theater ilian ness

left ih pr with

The Banquet The political potential political

- in wing ,

post or at least at or hese politics of memory are put are memory of politics hese - actors amateur and ofessional

tgn o Plato's of staging politics in general” in politics - Yugoslav countries, Iargue, countries, Yugoslav . The performance was a was performance The . ,

rotopia commonly discussed discussed commonly to politics of memory of politics by referring to the the to referring by pia hensible map of hensible mapof long programs, programs, long , discussed in in discussed ,

Symposium (

2009) (Ibid., 1) (Ibid., , an an , .

CEU eTD Collection performancethe acto dynamically soonwas with moving b stage, the on acting as identified be could Theater friends or cakes and bread fruit, re were glasses The banquet. of actual an in like full seats audience the encircled trays while the wine, entering of Upon glass a bacchantes. offered as were dressed we actors auditorium, dispersed the of rest the like look to alreadyand flowers with immediatelyadornedviewerswere some andparticipants, and the the Zagreb,center for atime thisoccassion tranformed of into yar the in started performance The another. or way one in audience the of member every and each involving stage, off and on Banquet cloakroom Even before entering the t the enteringbeforeEven

was so full that people were sitting on the floor and close to the stage. Some actors Some stage. the to close and floor the on sitting were people that full so was , and people ate the food offeredfood the ate people and ,

chronotop , and enter the theater barefoot. In the yard, their feet were washed by the actors actors bythe washed were yard,feet their Inthe theaterbarefoot. the enterand , e started. Thee heater and allegedly before the actual beginning of the piece, the of beginningactual the allegedlybefore heaterand d of the of d audience

during the show. The biggest auditorium of the of auditorium biggest The show. the during ut what seemed more as a discussion than a staged a than discussion a as more seemed what ut Itd. Theater Itd. 18

were asked to take off their shoes, leave at asked shoes, offwere them totake their 9

, an important student theater in the in theater student important an , r s toward the audiences toward (Figure 17 - capsulecarnival. the for filled by the the by filled

began actors ). Itd.

CEU eTD Collection an to belonging of sense a generate to carnivalesque the of potentials subversive democratic, post the that claim to not is intention my follows, what In streets. the not if theater, the over taken had carnivalesque of sociality har was it leaving, was I y festival 2009 the of closurthe exact mode of I seen leave, not have so and commenting wine, gr eating were We time. a at conversation and action of piece interesting most positioned were we so time, of moment each at scenes moving several Figure 17 As an involved viewer one was not watching a theater piece in the dark. There were There dark. the in piece theater a watching not was one viewer involved an As ear where the line between the F the between line the where ear : The Banquet at theBanquet QueerZagreb: Theat Festival 2009 ue Zagreb Queer

participating. After some After participating. dly possible to tell apart actors from non from actors apart tell to possible dly

Festival . However, for me as a participant observer, this is the the is this observer, participant a as me for However, . - Yugoslav queer festivals always or only rely on the the on rely only or always festivals queer Yugoslav estival and the carnival was the thinnest. Already as as Already thinnest. the was carnival the and estival 190

e ofthe

two hours of this, of hours two Banquet

(Vaupotić 2009)

and of the queer time queer the and of - actors, and the excessive excessive the and actors,

fully intrigued, I had to to had I intrigued, fully o r t lct the locate to try to

apes, drinking apes,

- space space CEU eTD Collection late the example, Banquet of th ritual and barefoot opening becoming the into translated was heterotopia Foucault’s of closing” and opening th of time the into led piece theater participants. of case coats. the in and lasted shoes their deposit to up Heterochronies queued viewers barefoot where cloakroom the to and shoes, of off taking with started piece the where courtyard the to extended hall theater o space The tables. banquet and passages, seats, viewers’ between in spaces acting of Theater Itd. (Thomas inZielinski Elsaesser(2005) 2012,3) “t as Elsaesser Thomas by characterized is together people bringing of potentiality its actualized rather Festival Zagreb 2009 the close to supposed was that piece this way, this In responses. wi script theatrical mix to daring and participation audience inviting Banquet marathon a of Eros queer of discussion collective a out acting its in and participants, acting to viewers from passage of rite audience’s space t inhabiting of moment telling most the as serve should performance time alternative that I exploreinSection7 will that In additio In Banquet The . The system is flexible since not all of the viewers had to go through it it through go to had viewers the of all not since flexible is system The . 2009 the of extension by and , : the proper acting space of the stage was continuously upstaged by proliferation by upstaged continuously was stage the of space acting proper the : h audience The togt f y Foucault by of thought , - space for the duration of the festival. However, the example of the Brazilian the of example the However, festival. the of duration the for space n, - arrivals The Banquet The

tgda oeigu fahtrtpabt i its in both heterotopia a of up opening an staged h Banquet The e closing gesture of picking up one’s belonging upon leaving the the leaving upon belonging one’s up picking of gesture closing e

ee coming were entered as they were. Another regulation for entering this this entering for regulation Another were. they as entered

intersected several different spaces in the real place of the of place real the in spaces different several intersected .2 e last party event of the 2009 F 2009 the of event party last e o uuuly og n oe aons f ie o the for time of amounts open and long unusually for .

Queer Zagreb Festival Zagreb Queer

(2002) n gig s t utd hm ad h tm o the of time the and them, suited it as going and 191 he potential of festivals to serve as an agora” agora” an as serve to festivals of potential he .

“ra i taiinl time” traditional in “break a –

an aspect of festival time festival of aspect an - length. The heterotopia of heterotopia The length. , allowed for change through change for allowed , estival. The “system of of “system The estival. he queer festival time festival queer he th viewers’ unscripted unscripted viewers’ th crisis deviance

mode - space which space

Ii. 26) (Ibid., mode –

s the as – the f

– The for for

in - , CEU eTD Collection chronotopes, meanings mobility, queer and art. of 7 Chapter communities transformative Fes of realization the of moments key against fea main of examination Critical Festival. the at articulated i gave Zabludovsky whole. a as Festival the at I shorthand, a as stand articulatio visual a showed posters Festival aesthetics. minoritarian of terms the on visibility queering space(hetero)normativity at wherewasc for least suspended a of performance 2009 the of heterotopia particular this heterotopia, Foucault’s of characteristic last the for tic without or with arriving,viewerswerenew that Iimpression the hadstill and door, as However, pass. consi heterotopia tival hv aaye visuality analyzed have I helped I nae ih y interlocutors’ my with engage I , formulate The Banquet The td f ore f h at f uig hae tces r ossig festival a possessing or tickets theater buying of act the of course of sted The Banquet Banquet The nsight into the playful and poignant dynamics of regionally queer art as art queer regionally of dynamics poignant and playful the into nsight propose

what I see as the political potential of queer art for bringing forth forth bringing for art queer of potential political the as see I what nlss f h life the of Analysis

– brought about, I about, brought art of works through visuality of queering of processes the of , n siig h fsia fr toward form festival the sliding and proceeded, there was nobody was there proceeded,

rae aon the around created n of strategies of queering of f of queering of strategies of n h Banquet The 192 argue ocs o ted o mc es o sense emic to attend to voices -

yl o a ommrtv promne by performance commemorative a of cycle

, a sense of belonging to a shared queer queer shared a to belonging of sense a , ue Zge Festival Zagreb Queer

ietd y e es a te 2009 the at Celso Ze by directed Close reading of ten years of the the of years ten of reading Close ue o Fual’ heterotopia Foucault’s of tures ouple of hours. checking

tickets at the entrance entrance the at tickets h criaeqe In carnivalesque. the estival posters that that posters estival

as instances of of instances as f festival festival f kets. Askets.

CEU eTD Collection ht s qae wt te oen wknn o te Croatian the of awakening modern the the of wasthefor closure It drawn with dnog_kazalista_u_Zagrebu%29.jpg equated http://hr.wikipedia.org/wiki/Datoteka:Vlaho_Bukovac,_Hrvatski_preporod_%28svec is that masterpiece 1896 His Bukovac. 51 50 Festival audience the of members with made interviews byFestival the was house theater provocative on 2003 enactment the of queered canon national Croatian the of part as Festival painting 19 the of visibility The scenography. stage the of front in performed and speeches F continuation as well yeThe COMMUNIT 7

estival

See the analysis of the manifesto that discusses ending the Festival series in Section 5.3.1. Section in series Festival the ending that discusses manifesto ofthe theanalysis See The The EINL QUEERNESS REGIONAL Cro ar 2012 brought t brought 2012 ar n hs hpe, I chapter, this In

their their

Te pcal o te eba choir lesbian the of spectacle The . the in place took the heteronormativ the appeared h Cota Revival Croatian the ta Ntoa Theater National atian cover cover critics, the organizers celebrated this end, redefining the closin the redefining end, this celebrated organizers the critics, -

still having things to say and show. The closing event of the last the of event closing The show. and say to thingshaving still since opening in2003 its Y

organizers’ strategy of the organizers’ of strategy

songs accompanied in 2003. 2003. in he tenth and final and tenth he the the . in elc on reflect Forthat Croatian National Theater National Croatian front The Croatian Revival Croatian The ainl utrl space, cultural national e Queer Zagreb F Zagreb Queer In 2003, when the the when 2003, In Festival organizers and volunteers, participating artists, and and artists, participating volunteers, and organizers Festival

). This curtain is drawn on the stage on special occasions of national interest. interest. national of occasions special on stage the on drawn is curtain This ). osse a eeoiu curtain ceremonious a possesses

both by giggles and and giggles by both curtain the in of of , it is important to important is it , the the

institutional decorum of the most most the of decorum institutional

. ue Zagreb Queer

Queer Zagreb F QueerZagreb estival queer subversion queer 193 AND

51 shows the mythical rendition of the Illyrian Movement Movement Illyrian the of rendition mythical the shows

, . . yblzd h utmt rcgiin f the of recognition ultimate the symbolized

e Zbor Le The ue Zge Festival Zagreb Queer

recall : the F the : an choice of the venue for the for venue the of choice for one evening. one for H ZGE FESTIVAL ZAGREB THE

Festival awareness of the long path traverse path long the of awareness

- estival the painting by the renowned painter Vlaho Vlaho painter renowned the by painting rm Zagreb, from estival organizer estival of the mainstream, pursued from from mainstream,pursued of the immediate

50 through . national consciousness (see: (see: consciousness national Surprisingthe ani_zastor_Hrvatskog_naro In my view, my In

context in which in context prestigious

the singing wa g as a prospective prospective a as g

s and guests held guests and s s launched, the the launched, s analysis Queer Zagreb Queer

last Festival last audience asaudience the th

Croatian Croatian

ti the is it ir most most ir century

f the of the d

CEU eTD Collection b and 5) 2006, Bosanac (see tumble but Sun the the around around spin spin not not should would Earth the Moon down; The fall but disappear. Earth, and collapse would everything attract, to start ( charges same the same that say physics of laws The elephant. the to fly the Zagreb par registered on discussion 52 strategie of multitude the about out find to aim broader a has research my However, self the into v changedistinctive strategies ofnon tothe representing the that scene a such into was Festival Zagreb their on Serbia legislature, andcultural asactivist organizing well as inthe region. helped events heterosexual” the wa public attacked wereparticipants “ accompanied was year, following the precautions high “ police the the At fresh. still traumatic F su for olunteers or F or olunteers

The The aggots into concentration camps” concentration into aggots Croatian Parliament Croatian es o identity of sense

infamous t ch public display of deviance” of display public ch - nti chapte this In had I

shirt, are as follows: “ follows: as are shirt, s waged not only on the streets onlythe wagedon not s their experiences of d of experiences their events just just

- participated in the in participated rsnainl organizationa presentational,

and that there would be dire consequences if this would change would this if consequences dire be would there that and est watched, with the chief of chief the with watched, words of the the of words

h lcl GT community LGBT local the in 2003 for an event t event an for 2003 in of ival viewers. The p The viewers. ival Pride parade in Belgrade, the participants were attack were participants the Belgrade, in parade Pride .

the first Belgrade Pride in 2001 and 2001 in Pride Belgrade first the ,w encounter we r,

se Kjnć 2003) Kajinić (see:

nrhp n ac 17 March on tnership when a conser a when

The whole universe is heterosexual, from the atom and the tiniest particle, from from particle, tiniest the and atom the from heterosexual, is universe whole The after the ZagrebPride the after D ( CDU

irect homophobic violence homophobic irect Pride marches Pride

HDZ Que

revious chapters focused on different data different on focused chapters revious (Human Rights Committee 2009) Committee Rights (Human

) (Radio B92 2006, 1) 2006, B92 (Radio voices r arb Festival Zagreb er

hat might bring some relief into into relief some bring might hat vat representative

and in themedia in and

ive party MP explained that “ that explained MP party ive police later commen later police ad iul taeis f h F the of strategies visual and l th .

2006, 2006, 194 I was was I of my interviewees, be they organizers, artists, organizers, they be interviewees, my of

and interviewed lesbian women i women lesbian interviewed and oiie nes lbyn fr hne in changes for lobbying intense mobilize

( Ibid. which ,

ey much very Lucija Čikeš, spoken during the parliamentary parliamentary the during spoken Čikeš, Lucija - charges) reject and the opposites attract. If the the If attract. opposites the and reject charges) ) normative inCroatia. identities .

later later The battle for the rightto the for battle The

the but extended to themythextended but

. The Zagreb Pride, organized Pride, Zagreb The . by at these Prides these at emerged and eventually made a a made eventually and emerged got

first Zagreb Pride Zagreb first rws f kned shouting skinheads of crowds ting that Serbia was not ready ready not was Serbia that ting on on transformed into a popular popular a into transformed

the urn or wander off an off wander or urn

. In addition, In . lookout lookout the the ed by the mob whil mob the by ed

and and estival organizers. organizers. estival

whole universe is is universe whole tense situation tense its - sets to enquire to sets

52 n Croatia and and Croatia n in 2002 were 2002 in t the at

influence on influence .

visibility - making in in making The Pride The some 30 some

d freeze” freeze” d Queer s and and s Queer

with .

in It e

CEU eTD Collection of about end as perceived “qu term the of use the about concern their to gavevoice 2010) interviewedin region. the in and also A Festival. the at volunteers were F were them twenty Among travelling. the at 2010 in fieldwork festivals queer queerne regional s this In 7 time festival queer experiencing understanding art. travelling, through queerness regional analyze will post of space and visuality normativity. an art queer using in people” “festival the of tactics .1 einl queerness regional

the visited

the usefulness the First of all, of First Queerness inRegional M Gay and Lesbian Film Festival Film Lesbian and Gay cin I prah etvl rvlig s md o ngtaig h maig of meanings the negotiating of mode a as travelling festival approach I ection,

other regional festivals orPride events

estival organizers; four were four organizers; estival In what follows, I follows, what In h wy i wih the which in ways the and When asked, asked, When ss. neig eba ad a iett pltc. They politics. identity gay and lesbian angering

I was surprised by surprised was I Intrigued by the trajectories the by Intrigued t ipiain fr h smoi geo symbolic the for implications its of “queer of

s d as

Que persons I interviewed I persons - vlpd in eveloped Yugoslav queer festivals thro festivals queer Yugoslav er Zagreb Festival Zagreb er ness h ognzr o the of organizers the explore ll of ll ”

for th for otion

ebr o the of members them

the lack of lack the in Ljubljana in the processes of negotiation of meanings of queer art, art, queer of meanings of negotiation of processes the h at fsia o Zagreb of festival arts the

participating artists participating eir festival and their movement, their and festival eir

were 195

of art and persons in persons and art of

in Zagreb in

involved to ask my ask to . close ties close

, d politics politics d

quite atypical of the other qu other the of atypical quite arb etvl omnt negotiate community Festival Zagreb film ugh

in graphie (in 2009, 2010 and 2012) and 2010 2009, (in

interlocutors interlocutors etvl n Ljubljana in festival , between the Queer Zagreb Queer the the interviewees’ perspective interviewees’ the to confront and potentially exit exit potentially and confront to eigth o queerness of s

. The The . were were express - between post between Queer Zagreb Festival Zagreb Queer viewers

about the about Ljubljana and also suspicion also and ed eer” which they they which eer”

, but some had some but , strong doubts doubts strong - , I used my my used I , eer festivals festivals eer space, and and space, , while four four while ,

- ir festi ir Yugoslav Yugoslav wo I (whom , activists

four val

. of of I

CEU eTD Collection 53 Zore “ the why reasons the close pri In me! to distant so seems it why that's So there! been having about talked there youcome when seenas festival a as Gabe, why the among interest of lack and diffidence certain a goingLjubljana.and local proud in Europe” c symbolical and activism LGBT of temporalities intersecting region the at Yugoslavia in festival their ground

Page number indicates that of the transcription. of indicatesthat number Page

“ but not tothe gaybut not lesbian festival film and

. (Gabe 2010,1)

(Karla 2010,5) (laugher)! of question the content. art queer other thinks: who audience Zagreb Croatia in it see can th like It's of organizers the of one Karla, vein, similar a In However,

bymyinterviewees in Zagreb

n t In g ainin the egahe ae riuae as articulated are geographies

i wa his reservations in their historical their in reservations post g strength in strength g viewer at with film festivals film with at the But the film is alw is film the But – beginning of the new millennium, as the rest of rest the as millennium, new the of beginning -

y, the Yugoslav region Yugoslav different different Zagreb audience Zagreb 53 –

the

. Vox FeminaeVox htdrc experience direct that of of how many people are there? There is no feedback at all feedback no at There is there? are many people how

the

w fsias n arb n Ljubljana and Zagreb in festivals two from Zagreb:“ from – Zagreb

Queer Zagreb F Zagreb Queer choice we also have a have also we W

hen it comes to music or performance art, performance or music to comes it hen

, expresses a common viewexpresses a of , ays the same the ays and “ and I . we can watch queer mov queer watch can we s

“

of arts and politics politics and arts of satdi 18,adnt n the in not and 1984, in started t – would go to a Ljubljana queer arts festival like like festival arts queer Ljubljana a to go would

I don't need to go to another state another to go to need don't I the oldest gay and gay oldest the I had no clue at all atclue no Ihad

position as by far the oldest lesbian lesbian oldest the far by as position h “ the 196

– estival festival

in the same city h uao atrBnai, her Benjamin, Walter of aura the

- igs qer fes queer biggest

ir respective ir the celluloid that travels from city to city to city from travels that celluloid the

and an organizer of another feminist art feminist another of organizer an and

(...) (...) lua ognzn. T organizing. ultural the of the two festivals two the of I think the same happens with the the with happens same the think I Queer Zagreb F Zagreb Queer lesbian film festival in Europe” in festival film lesbian – ies here! ies

how big it was! What is it likeit is What was!howit big festival

the the tival in Central Eastern Eastern Central in tival represent Ljubljana film It is not the same with same the not is It

- queer festivals queer communiti aeo h pi of split the of wake

to see a movie! I movie! a see to

estival nciple, it is ve is it nciple, also account for account also there is already is there er changi heir

– ifrn but different

and gay film gay and nobody ever e and now now and e es , explains , . This is This . festival,

Rdeč in the in ng ry e .

CEU eTD Collection festival and artists organisers, the country, neighbouring However queerness''. the favourite festival that! like something for money “ beginnings long a in Especially them enables which volunteering festival students, for week. festival the during capital the for head cities the choose carefully or volunteer students region; the in festival to festival from travel activists positions, social individual and motives organizers and artists more audienceZagreb thanthe from Rdeč I usually don't travel don't Iusually Queer Zagreb and Zagreb Queer e Zore e - opens toward itself the number small a not is from that knew I women six were there and room, a into entered is There Superfi becomes mobility of map festivals’ The Karlahand,other the On em s term

. and

It is a is It is the case of case the trategy cially, it might seem that the that seem might it cially,

volunteers n afral way affordable one lt f arb uine at audience Zagreb of lot a s

where Ialwayswhere volunteer, fes

. , I argue that even when making a decision not to travel to a festival in a in festival a to travel to not decision a making when even that argue I , o et h atss ognsr, n audience and organisers, artists, the meet to

as well as that that as well as tival of queer and feminist art feminist and queer of tival to art festivals because of purely practical reasons of not having enough enough having not of reasons practical purelyof because festivals art to

- Ivana local Zagreb local mobility gets played out within one city. For many students, students, many For city. one within out played gets mobility Queer Zagreb F Zagreb Queer

also for several other festivals in Zagreb that spark that Zagreb in festivals other several for also a been had

regional audience,regional it's that's what about. (...) points out the differenceof out the points . But again, that depends on the festival festival the on depends that again, But .

But

of audiences of Ljubljana festival f etn ivle i a etvl hy r itrse in, interested are they festival a in involved getting of

a in Zagreb I travel I Zagreb in estival festival festival ue Zge F Zagreb Queer s intense that 197

might disprove might

the film festival: film very very with its with

Ialways watch“ into account. With considerable variation in variation considerable With account. into events Rdeč

involvement of the Zagreb audience with with audience Zagreb the of involvement that For some of my interviewees, especially interviewees, my of some For complex when we take take we when complex Zr, ely We I et hr, I there, went I When really! Zore, e

in Karla's perception perception Karla's in expensive tickets expensive they can afford; queers from smaller smaller from queers afford; can they

- from festival to festival! to festival from or egg i a ope st of set complex a in engage goers

estival

the other the my assumption about assumption my

(Ivana 2010, 3 (Ivana 2010,

s oute ams fo it from almost volunteer , and watch some shows. shows. some watch and ,

Ljubljanafestival queer

( Zagreb. Literally six Literally Zagreb. Ibid. , this mig this , :4 – the the – seems to attract to seems

ed 5) how a festival a how –

4) travel her interest her . ht be even be ht I have my my have I

''regio ling of of ling nal

– s : ,

CEU eTD Collection to Zvonimir becomes margin geopolitical the In action. for allows of interpretation that situation unregulated the of because precisely content art unexpect anfor allows systems distribution international with market p art/film their Croatian the valorize of interconnectedness that ways in value of geographies “west“ current“ l among of readings widelydivergent exist there However, post post the of queerness socialist as such belonging queerness''. processes little, a only overlap festival post the and festivals two the instance, for So context. regional gen and sexual of politics in differences subtle of negotiations - - Yugosl Yugoslav

embattled the in neatly so faring not While hand, one the On often screen often as such festivals the at look you when Europe, in Even films. film and region the to comes it When s Slovenia, as ocal LGBT activists themselves, disclosing themselves, activists LGBT ocal Gay and L and Gay geo

f i/dniiain do dis/identification of : av lesbian activist solidarity activist lesbian av metries of power“ metries of

lesbian/gay Zvonimir esbian “ films other post other Queeroslavia ed atractivness of a small queer festival that brings to its audiences new its bringsto that queer festival small aatractivness of ed

before they do! they before

im F Film Dobrović festival queer and queer cultural queer and an -

– Yugoslav region Yugoslav - s al' dsoiin shows, disposition Karla's as Y

as Doreen Massey undesputable center, and as and center, undesputable ugoslav estival “

created around around created , iclt aon te hrd r iaoe ''regional disavowed or shared the around circulate the

thematized

n Ljubljana in

program queer festival communities reinterpret the implicit the reinterpret communities festival queer participants Sometimes this is because our festival our because is this Sometimes 198

– politics

explored at explored I think we are the str the are we think I

post , director of director (1993)

Queer Zagreb F Zagreb Queer by activists at activists by geopolitical division between “east“ and and “east“ between division geopolitical some the , are situated at two opposing poles of poles opposing two at situated are ,

. Even if the communities around each around communities the if Even . - nae n mgnn sae regional shared imagining in engage Yugoslav queer geotemporalities even even geotemporalities queer Yugoslav ue Blrd F Belgrade Queer oet F roject.

discriminator calls contemporary geopolitics contemporarycalls

the

such, also a magnet a also such,

the h cntn dsusos and discussions constant the Queer Zagreb F Zagreb Queer e non der Queer Zagreb F Zagreb Queer r xml, h lc of lack the example, or the estival ongest festival for festival ongest Hamburg or Koeln or Hamburg Ljubljana y practices within the within practices y - normati

of estival

queer high art, art, high queer estival film

. According According . comes first, comes iy n the in vity ; estival the festival. ,

or the or queer queer post – . ,

the we we

CEU eTD Collection traveller professional fil coincidences“ of “time Mizielinska's to due community festival its to more offers that as festival his of location program engag necessarily are relations geopolitical 2011) (Mizielinska once“ at “all came disjunction“ “temporal other regionalfestivals: queer H of organizati interests commercial the of margins the wvr Zvonimir owever, fsia a “ as festival m In the above quote above the In more thana ofa starting destination po be would haven I that sense the in me surprises inte not is it programming for region, the In it circuit, festival film LGBTQ broader the In don (Zvonimir 2010, 2) they because precisely film this show will films W way. that less cost films example for distributors, European for wait festivals them show we sometimes but

director of the the of director nl decisions onal

ely undisco really have any distributor. E distributor. any have ot visiting“ worth i i psil t read to possible is it ,

rus for argues

Ljubljana is an is Ljubljana ed in renegotiating relations of metropolis and per and metropolis of relations renegotiating in ed of power. According to Kulpa to According power. of who is hardly is who . From the From . ins

and ed of tead

ue Zagr Queer a

we see the see we

periphery that is somehow better off better somehow is that periphery

eprrl turns temporarily

ee. n rgamn sense programming In vered. qaiaie di qualitative a “eastern“ e in Zagreb cannot wait for distributors since none of these of none since distributors for wait cannot Zagreb in e bt his but , gradual

surprised surprised

resting to me. I me. to resting obvious even several years before. This is This before. years several even other side of the coin the of side other eb (2011 ven if they get a distributor distributor a get they if ven seemingly effortlessly reinscribes reinscribes effortlessly seemingly

, 15) , side “accumulation“ 199

' “ example of a festival that is worth visiting. But visiting. worth is that festival a of example int t heard of or of heard t by anything a local/regional festival local/regional a anything by etvl selector festival

an cinto bten h Zge F Zagreb the between sctionction

. He . . h margin the

of the geotemporal divide, geotemporal the of

( im itiuos that distributors film

Ibid. ongoing struggle for for struggle ongoing ' wn t con to want t

t is rare that some program in the region the in program some that rare is t

(2011) is the location of the Zagreb F Zagreb the of location the is mentions mentions t tmoa blnig o up and Kulpa to belonging temporal its )

of Kulpa and Mizielinska's (2011) Mizielinska's and Kulpa of seen some film or that something that or film some seen -

, “geotemporalities of queerness“ of “geotemporalities ,

etr topogra center - of knowledge and experience experience and knowledge of

, I think that Queer Zagreb is is Zagreb Queer that think I , German “ the

than the center, as a margin margin a as center, the than ucin un hm no a into him turns function et h fl wt queer with film the nect Ljubljana gay Ljubljana –

we will not be able to able be not will we because at times these times at because distributors, since the since distributors,

iphery nbe innovative enables phy upside down. down. upside phy resignification of of resignification where everything everything where the ( Ibid. geotemporal

and lesbian lesbian and estival and and estival estival providing :1) . The on on .

CEU eTD Collection cooperations between marginaltake significance. locations onnew “western“ the as such F Zagreb Queer is that all very a get can you place one at because possible as often as festivals those “ cirucit festival formotivations hisitinerary directors) year. Asian next film T T Japan. in on effect direct 2013 and experience organizational his showcase would that instance for him takes that geotemporality an For me personally, and probably for others for the same reasons, it is very iportant to be at be to iportant very is it reasons, same the for others for probably and personally, me For

nentoa slcin f im cud fe. Instead offer. could films of selection international The yearwas made during that difference. ahave selection broad Becausevery important? they of month one with program same States United the in and organizers the among and festivals, film especially festivals, queer of number great a is There Francisco, London and Berlin and London Francisco, These pos . The a The .

enpoue nacran year certain a in produced been ae smlr route“ similar a have t his year I was in was I year his - program Yugoslav countries Yugoslav

. r us are L

The the nnual travelling o travelling nnual B mvmn. T movement. GBT estival festival work

ually

films from five different five from films ietrs oiiy elcs h icsat rvlig chara travelling incessant the reflects mobility director's his way Ihis way

of programming of fudy pes l ntos f “eastern“ of notions all upsets ofoundly h sm places, same the

programming: “ programming: as follows:

Jakarta where we started this idea to have a festival devote festival a have to idea this started we where Jakarta is from Zagreb from incredible

- supposedly select

it's San F San it's f the f ( (Zvonim Ibid. e etr n te margin the and center he

among the film festivals. But o But festivals. film the among

film

programmer :1) . Two f Two .

exerts the pull to travel in order to be in be to order in travel to pull the exerts “ s to p to rancisco and Los Angeles Los and rancisco to A r 00 2) 2010, ir

in need in as a programmer,as and a other(program programers 200 ( ipy the simply lso it sometimes happen that I that happen sometimes it lso Ibid.

Asia Asian queer festivals or to New York New to or festivals queer Asian reparing the reparing

estivals are crucial: in Europe in crucial: are estivals ) .

when preparing when

to catch up with catchup to of The global The

the (...) (...) Zvonimir .

spaces where things happen happen things where spaces

Queer Zagreb F Zagreb Queer Queer New York Festival York New Queer – , h ae hs to etvl so festivals two these are Why

they are showing almost al are showingalmost they he

iiin s troubled is division bustling mobility around mobility bustling

lis o belong to claims As Zvonimir As

the 2011 Zagreb 2011 the ften something comes up comes something ften ske the “proper“ time “proper“ the akades f places of backwardness ,

which in fact have the have fact in which tches the mode and and mode the tches broad estival

go ,

- explains: trsi of cteristic

for example for

the mobility the

it' insight into insight

- has a ve a has s L s the , and the the and ,

to F in 2012 in - - ondon, ondon, to the the to estival estival line of of line know: - bring bring l

d to to d San San that the ry a ,

CEU eTD Collection politics queer of critique participation al This remedied. be of of program the from content, art lesbian and feminist and artists, women of absence chronic the interprets Gabe i ambitions cultural elitist less and budget smaller uncomparably an with the names“ “big bring and politics queer to approaches opposing know that they possible. festivals m That's to. attended not are community the of wishes the that hard occasional an Gabe, by as well as practices, programming and mobility not is coincidences lucky of n touch with the with touch n that the Zagreb audience Zagreb

who is who part of part

T flexible This production. T South or Brazilian on focused are and program, excellent an have often regional o Zagreb utside of that map. I map. that of utside he t he – I don't care that the that care don't I

the the wo festivals she discusses she festivals wo

n oe networks power in an organizer of organizer an viewer the

Queer Zagreb for Zagreb Queer need this chance“ this need F production.

sia, are estival, Croat LGBT community, and a and community, LGBT

in contemporary dance and performance art and frame it as queer art for art queer as it frame and art performance and dance contemporary in

, all hese are the films that do not becomehese thatdonot films known are the ontheou

the the

of ee lc o atnin o h “wishes“ the to attention of lack leged which partially which ian queer community and communityqueer ian - but the Queer Zagreb Festival Zagreb Queer that has that -

backward mobility and its accompanying priviledged temporality priviledged accompanying its and mobility backward Queer Zagreb F Zagreb Queer I like to go to the to go to like I seen

n that way one gains an insight into some more local more some into insight an gains one way that n the the performers are not famous and don't have experience because I because experience have don't and famous not are performers always

turned into an elitist cultural practice. Gabe clarifies practice. culturalGabe elitist an into turned (Gabe 2010,8) Feminae Vox example. by some participants participants some by f utrl fes cultural of includes , the perceived perceived

Queer Zagreb Queer community organising community

r ocrettig with things correct to try I conservative estival 201

, Mix Brazil F Brazil Mix the the

anothe the as a as .

with the with

ia organising tival , local this particular style of queer politics practiced politics queer of style particular n expression of expression n expresses r feminist/queer festival in Zagreb, and and Zagreb, in festival feminist/queer r

unproblematically s lts, a elitist, as

community, queer

organizational artists from that community that from artists and estival the this

f h lcl community local the of Vox Feminae Vox . While While .

critical view: critical in Sao Paolo because t because Paolo Sao in emerges as an important important an as emerges d t ie exclusionary. times at nd disregard for the interests the for disregard y problem with queer queer with problem y

practice the the is presented as more more as presented is Queer Zagreb Queer T . tside the Vox e well he

, American film American

Vox Feminae Vox two represent

, as much as much as , “ that needs to to needs that ( Ibid. For me it is it me For

or more more or some of of some - as well as :2) funded funded

is to is hey hey and and .

CEU eTD Collection “niche to arrives well be not might it festival, the to response a as arrive see to order in travel mobility dizzying the curtails togethe which budget, smaller much a has festival Ljubljana Ljubljana. the of politics the know wha choose to access as such tast personal everywh n is he that understand you programs, the all you organizer: the etworked witheverybody“ program osbe ik of risks possible can tell exactly where where exactly tell can ” . This privileged This . Diametrically opposite to such approach to queer organizing would be be would organizing queer to approach such to opposite Diametrically 2010, 1) Eu in anywhere happen they when shows source good a not are they narrow much N festivals. since But reflect that choices programming the only affect not do mentions she risks The

ifr get el rm the from deal great a differ “ Even T and organized be to is t es of a single person single a of es director of the director of the he fi he ue Belgrade Queer

market” their “gay” their market” the local and global and local lm program was really interesting to me. But, just looking at the program, program, the at looking just But, me. to interesting really was program lm Queer ot to queer theater fe theater queer to ot er movies; an an organizational organizational

program, and I would say, not of suc of not say, would I and program, pos (Zagreb) (Zagreb) lts mobility elitist he ir ition of the of ition Queer

(

- Ibid. call known among the film the among known (

visible visible the program director program the they screen and select them in Ljubljana among the among Ljubljana in them select and screen they

Festival - . They also They .

fo :4) Zagreb F funds and networks of internat of networks and funds deals with much broader things, I also travel travel also I things, broader much with deals r o pormig o me. for programming for . -

films ev films rnils of principles film. around more moneyed festivals. The organizers do not do organizers The festivals. moneyed more around

h gets who cultural authority is reflected in the festival itinerary of of itinerary festival the in reflected is authority cultural stivals because there are n are there because stivals

Queer Zagreb Zagreb Queer and ht is that

Although Although estival include 202 ery year. Since it is a small, “specialized” small, a is it Since year. ery h anarcho the oiind as positioned

etaie in centralized rope because that is much ea much is that because rope . ) has travelled this year this travelled has ) When heWhen says

the - more significant more wt the with r makers internationall makers the centralized a ad eba Fl F Film Lesbian and Gay Ljubljana film festival does not give not does festival film Ljubljana r, l aon te world, the around all ere, - ue visio queer h high quality as ours ours as quality high h

“ ir g t fsias r particular or festivals to go I single a being

: ional contacts; the contacts; ional

ciit gltra politics, egalitarian activist ot so many or they or many so ot prah Te Ljubljana The approach. issues - o the of n in

- professional the ! W ! y

for queer politics, politics, queer for - until the moment the until qer cultural) (queer hen you look at youlook hen sier. sier. Rdeč (Zvonimir

o theater to estival Zore e films – ability to to ability the

simply, simply, festival festival e has he have a a have

film that -

i in in - y -

CEU eTD Collection 2010 in Pride F Zagreb Ivo, ofrecurrent volunteer country.a a atravel festival queer in nearby or a to Pride reasons financial dayafter the tothe attacks: opening due the of F Sarajevo travel Slovenia and Croatia example, pa no was there since Zagreb in parades Pride to come Macedonia and Serbia from activists example, for when, festival of deal great a for network non a low or documentaries older screen usually region, the in market Festival attract it prizes, out ppeal - commercial stories. film

2008

goes hand in hand with their radical politics, and the appreciation of their audience for for audience their of appreciation the and politics, radical their with hand in hand goes For students, this this students, For we couldn anything the with interviews make to going were we k we and persons, trans about morning the in early opening the to come didn't we But Festival. Queer Sarajevo the to went I smaller Those of film circulation film of

with its ambitious ambitious its with – estival

even for its audience. The ne The audience. its for even estival

Queer Sarajevo F Sarajevo Queer

are the low the are “ :

while , , but if the cause is important enough, a lot of young queer people manage to manage people queer young of lot a enough, important is cause the if but , because everybod because wn t th to went I

' t do any work! t doany work! in 2008. Gabe recalls one such “solidarity“ such one recalls Gabe 2008. in s film s activist festivals rely a great deal on the support of the regional activist regional the of support the on deal great a rely festivals activist rade organise rade rtn hs hss dcdd o atcpt ad upr t support and participate to decided thesis, his writing - - , su , budget activist festivals that carry no prestige for new films and so so and films new for prestige no carry that festivals activist budget makers with its reputation of reputation its with makers mobile

mobility as well as of as well as mobility global . So that's why we missed it. missed we why that's So .

ch as the small queer festivals or the feminist the or festivals queer small the as ch estival Blrd Pie hs year. this Pride Belgrade e (Gabe 2010,10) einl solid regional y ran away ran y programming practices. The festivals that miss out miss that festivals The practices. programming d in their country or when the when or country their in d , b , led new ut arriving too late since the F the since late too arriving ut

twork of post of twork

to Sarajevo to support the opening of the first the of opening the support to Sarajevo to that many from the trans community will come, so so come, will community trans the from many that - budg 203 –

rt i uuly o s es to easy so not usually is arity

et films. However, their lack of commercial of lack their However, films. et everybo

Pride parades mobility across the region the across mobility parades Pride m .

- (...) Yugoslav activist cooperation activist Yugoslav

longevity, as does does as longevity, dy was in such a state of panic of state a such in was dy

(...) W (...) But then we haven't managed to managed haven't we then But set h ls mny hd on had I money last the spent I

trip trip e were going were e –

LGBT activists from, for from, activists LGBT

estival got shut got estival travelling to the to travelling - the anarchist festivals anarchist

to make to Queer Zagreb Queer e Belgr he practice - the the

down the the down we came we

accounts openin on the on Queer Queer Queer a

film

that that ade ade for for do – g

CEU eTD Collection organisers festival queer case, this network This root. network Iand then woul these of left we then And documentary. festival film Ljubljana the exhausting proved times at opening, exhibition participating of mobility nomadic band rock queer local a in musician a and artists visual a as LGBTscene Croatian the on activepresence Iwould want unfortunately to becau I whenwent was it to think 2008or2009 Belgrade memebers community function festivals arts queer but involvements, many her to due go, to where carefully Committee Organising Pride Zagreb the of member Pride Belgrade the support wanted to (laughter) Helena, t not was He T

festivals. Since I Since festivals. he in 2007 and 2007 in

in 2008. I intended to go that year to year that go to intended I 2008. in

participate in eggs n nesv rgoa qer festi queer regional intensive in engages , going

attempt to organiseto attempt d usually leav d usually a to Belgrade. I needed a little fresh air fresh little a Ineeded Belgrade. to queer artist who who artist queer

was instead of staying of instead he only one one only he subsequently :

the motivated by the the by motivated “ mostly just did the performance or the exhibition or whatever it was,whatever orit exhibition the the performanceor did mostly just ws hs er t h Blrd Pie I et o h la the to went I Pride. Belgrade the at year this was I

. Karla, an organiser of of organiser an Karla, . we also came f came also we

Pride and left her with her left and as a magnet for for magnet a as e “

the (Helena 2010,3) - “

has (Ivo 2010,8 (Ivo n y oot f interviewees of cohort my in – queerfestivals through a mailin a through e couldn't stay longer. So I have just a limited experience limited a just have I So longer. stay couldn't e in a festival festival a in s

who met at various festivals and art occasions across the the across occasions art and festivals various at met who e work my does

exhibited exhibited for the whole duration of the “festival time“ “festival the of duration whole the for the Red Da the Red intensity of travelling of the “festival people“ “festival the of travelling of intensity or just or the 204 fleeting impressions of particular festival particular of impressions fleeting – regional 9) the at

fe fr ut n d one just for often one evening one .

the the Queer Sarajevo, but it didn't take place. I place. take didn't it but Sarajevo, Queer g

wns the countries of former Yugoslavia into a into formerYugoslavia of countries the - not let me“

list and individual contacts individual and list

Queer Zagreb F Zagreb Queer before I start writin Istart before a travelling val n 2010 in Queer Zagr Queer solidarity of solidarity

(festival) the – ws hr as. h choses She also. there was ,

egae Pride Belgrade (Karla 2010, 4) (Karla 2010, only to see our “Bura band“ “Bura our see to only . I but travel . h fud t motn to important it found who eb F eb Hwvr ti kn of kind this However, . the ay estival estival

post for g my BA thesis BA myg

cnet or concert a Yugoslav queer queer Yugoslav and , and , not as much as as not asmuch .

and regional regional and did not take take not did who has who

period an active an t Queer st s :

– “ so I so has

T an an an in in o

CEU eTD Collection her organising career region. the from actors collaboration in company dire Banquet The intriguing caseof influences international closed see and festival, mobility: communit local the has which network, funding t of support con queer regional expressing of ac vehicle a solidarity as served as well as cooperations, and projects of fo encounters these using begin to hoped and region,

s festival sequences in case of some new some of case in sequences td y fmu Baiin hae director theater Brazilian famous a by cted

the same faces faces same the - circle hub of regional mobility.circle hubof regional T Sarajevo the at spectators local of lack the on commenting is She ofmiddle S people local Lju from everybody Belgrade, Festival T his festival mobility revolves around complex regional connections, connections, regional complex around revolves mobility festival his in no is here

- program.

i rgoa ntok n diin to addition in network regional his goes on to extend the parallel the extend to on goes os fe cnlce borde conflicted often ross

rsne a the at presented hnw ett Srjv for Sarajevo to went we When ! the arajevo without them? arajevo them? without

. ae rtczs oe set o ti rlac o the on reliance this of aspects some criticizes Gabe y. –

from Sarajevo? They are not present! How can you do a festival in the in festival a do you can How present! not are They Sarajevo? from :

h i The international/regional/local cooperationinternational/regional/local can

flow travelling from festival to festival, from Pride to Pride, in a vibrant but vibrant a in Pride, to Pride from festival, to festival from travelling For For n priiat toge participants and with local Croatian actors ( actors Croatian local with

tnie etvl oiiy pre nmru rgoa ad local and regional numerous sparked mobility festival ntensive of new people new of Karla, i nfluenced the programs of the of programs the nfluenced 2009

this this “specialized“ Zagreb laa eeyoy rm Zagreb. from everybody bljana, show

! That is the biggest problem problem biggest the is That ! (Gabe 2010,2) rs to O te te hn, n o te inadvertent the of one hand, other the On . 205 was an important an was

some other regional festivals where festivals regional other some hr ih oa ad einl on regional and local with ther fes

, festivals has been an implicit reliance on the on reliance implicit an been has festivals ia. s icse i Scin 6.3 Section in discussed As tival. the Pitchwise the

the dependence on the international NGO NGO international the on dependence the e Celso Ze r more structured exchange of ideas and ideas of exchange structured more r profe

ssionals and amateurs), and ssionals

festivals and their integration into integration their and festivals ,

and experience at t at experience –

be found in the theater piece thetheater piece found in be

tws us: was it involved involved -

I say: where are the the are where say: I a lso - base i sal theater small his

einl activi regional everybody from from everybody at the at he beginning of of beginning he es d feminist art feminist d

s well as one and with guest with

Pitchwise i ,

always brings brings was t . An An . s t

CEU eTD Collection F in discussed works artistic brought “ for space free more different maybe capitalism, society, transitional neoliberalism, market, free thefunctioning older toward new: way of oftransition fromIas some understand some kind it so apart, fell Yugoslavia old, years “post of resonances signific F term the to responses immediate of if and country same organized was region the activists in expressions queerness estival had the same task: it was it enestival task: hadthe same estival post Indeed, The ( The year! very act some have we do this, to openess in interested F Q - ance.

. In order to enquire whether this this whether enquire to order In . Karla 2010,4) omns or communist

the rt e o an got we irst uite a few of the actors in that show came from Serbia! At l Serbia!At camefrom show that in actors the fewof a uite (freedoms) n 03 Fr oe younger some For 2003. in “

two in Croatia. in ewr o organising of network Ivana, a long a Ivana, S for an exhibition whose task whose exhibition an for ubs post it is important to to important is it

in ection - - “ Yugoslavia influences not only not influences Yugoslavia

a socialist queer“ socialist it h Qer arb F Zagreb Queer the

(Ivana dialogue

was influenced by the wider region and region wider the by influenced was workshop lasted for two weeks, and then there then and weeks, two for lasted workshop

post The organi The

invitation invitation 5

- around . term 2. -

socialist 2010, 8) 1 A . Ised o Instead .

volunteer at the at volunteer reflect on reflect a n hrdclua is of ties cultural shared

– sers of the first the of sers that whole story whole that

“post tirely todiscussing dedicated “post related to her life, but finds little finds but life, her relatedto

oiaiy rud non around solidarity . aei cneec ta acmaid h frt Z first the accompanied that conference cademic eln u ta tee xss gop f epe h are who people of group a exists there that us telling

time and space, I asked my interviewees about their their about interviewees my asked I space, and time nevees the interviewees, - sia and estival gvn a set a giving f oils queer“ socialist interest in quee in interest

was to to was what ivities like that? We said: We that? like ivities 206

Queer Zagreb F Zagreb Queer “post bring

Queer Zagreb F Zagreb Queer

the seems chronical seems

ol lk t participate to like would -

socialist“

audiences but also but audiences those disparate ter disparate those of omrsne of sense former a

r cultural and artistic production in production artistic and cultural r - introduced introduced definition normative sexualities and gender gender and sexualities normative label the

estival would did not carry much lived lived much carry not did current historical moment historical current estival east six or seven of them! seventhem! or of six east ly far away from me. But me. from away far ly : s

“ we have somethi have we , they issued a call for for call a issued they , - by When I was five or six six or five IwasWhen , socialist queer“ socialist was the performance. performance. the was

mean mean searc

ms into relation into ms the the organisers and and organisers the in 2003 in

belonging to the the to belonging hes for possible possible for hes when linked when Queer Zagreb Zagreb Queer . Is there any any there Is .

creatively creatively ng this this ng . agreb

, as as ,

CEU eTD Collection artists, local many were there years two first the in that think don't I queer. of meaning local community: Jelena program, like this: him at organising/volunteering F more dialogue beginning, more easily reco geography“ 9) 2007c, Festival Zagreb (Queer regional on focus special a with activism and theory art, through “queerness with focu the together queer“ socialist Q first the following we they when reservations express interviewees the that seems it Dobr sia. So estival. ović a

Although not involved in creating the the creating in involved not Although 2010, 11) They here. it translate just conce very the Balka the fromor Yugoslavia former of regionthe h means) (It as well as themselves, Organisers Zvonimir by written article brief one and venues, two those from apart However, im program film

(2004)

“ Jelena, ,

In that context, context, that In

although they continue they although gnizable tomy interviewees

s on s still still entitled “Post entitled phrase ow ow ueer ed their ed

non pt of queer. They do no do They queer. of pt eiae to dedicated rnlts t ipiain a maigu fr i ad h lcl queer local the and him for meaningful as implications its translates a the the

Z i nt ac ni te LG the in on catch not did -

ue atvs and activist queer n with the term itself, and the intentions behind using i using behind intentions the and itself, term the with the agreb ormativity, Queer Zagreb tried to pull together and attract some artists from from artists some attract and together pull to tried Zagreb Queer

e led f already re surprise post Q - socialist queer“ socialist uee , the F the , , which both as both which , - socialist queer sounds ok sounds queer socialist “ r try a motiv gay Z as explains agreb, estival organisers estival d art o e wa qeres mean queerness what see to

if they ar they if to experiment with experiment to mla with amiliar

and the region the and

. 207

viewers take the meaning of queer from the outside and and outside the from queer of meaning the take es

viewer and publishe and

“ term e hearing it for the first time first the for it hearing e xrsin “post expression

n omr uolv films Yugoslav former in BT community in Croatia. M Croatia. in community BT s

what

novd ih h F the with involved h expression the and as an aesthetics seems to be much much be to seems aesthetics an as and h ws occassionaly was who abandoned the direction of the “post the of direction the abandoned . In 2007, In . ns, and how they tried theytried how and ns,

. “post

d in d linguistic (...) T (...) - the socialist queer“ socialist

hey are trying t trying are hey - for instance, for oils queer“ socialist Cultural Studies Review Studies Cultural s

Ide, in Indeed, . terms n hs region. this in

sia from estival that would that

n a ou on focus a and

or had certain had or

they ca they to (deal) with (deal)with to t to start the start to t

nae in engaged o find some find o refers to refers ost of my my of ost the

and (Jelena me up up me bring years

the the for its its - , CEU eTD Collection and the also significant by recognized was resistance had be would there times, had interlocutor my that expressing interviews the in times of couple a Only duration. year's festival. festi in participants that significance Fest Zagreb section, this In 7 renegotiatesgeographies of the regional of practices of significance the to testifies mobility festival queer Yugoslav geohistorical and time space or the of strategies the recognizes Jelena the and regimes, totalitarian of question the films, through also with, dealing are they that think I but .2 “regional“

entered included them here them included The Viewers Inhabiting FestivalViewers C 7 Section In

( My hi story) of Eastern Europe“ Eastern of story)

a aeoy f seil etvl ie s f time of as time festival special a of category ival interviewees

territory,

queer I analyze my interlocutors' accounts of accounts myinterlocutors' analyzeI . T

e ocp of concept he answers that answers .1

o con fr h seiiiis f iig uens i ti particular this in queerness living of specificities the for account to

an ackn an affectiveconceptu and hv aaye m interviewees' my analyzed have I . s in s In

in Zagreb in

, the terms of its negotiation effects negotiation its of terms

and owledgement that my question had question my that owledgement the post ot of most in discuss to imply - depth interviews depth the

not thought not val communities give to give communities val speak about speak

( Queer Ibid. -

chronotope socialist margins.socialist

h interviewees the the festival chronotope festival the hronotope

art produced by art produced ) . 208

Zagreb F Zagreb al, shared. that is In this quest for the “local meaning of queer“ of meaning “local the for quest this In

or felt the event was event the felt or

the queer festival as a special even special a as festival queer the

s n analytical an is with the total of twenty participants twenty of total the with

chronotopes characteristic of the the of characteristic chronotopes estival

local artists local . rvlig o n ibten post inbetween and to travelling eas o this, of Because -

a I e wt a uze glance puzzled a with met I was

pc o clua ad communal and cultural of space The map of post of map The queerness for its participants and participants its for queerness 's usage of “post of usage 's time

in relation in

struck a cord, that we that cord, a struck - s

pace ol o loig t the at looking for tool

important. Most of the the of Most important.

relations

to other to - hav I - Yugoslav queer queer Yugoslav socialist queer“ socialist

e during

festival taken t in the the in t Queer Queer ,

both one one

the as as s - , ,

CEU eTD Collection interviewees. other by waydescribed engrossing the in chronotope festival the in involved not and time first the for festival the 54 inhabited extensively have int e interlocutors' my to turn her of part became which Bickart LGBT performed of space the in choreographies the York t in resulted that project community Festival instance, or For events. art of works particular through realized chronotopes of multitude a observed volunteer a as participant long heteronormativity. to resistance and theory; and activism art, between dialogues Section of space a to carnivalesque. context cultural their of place straight the translating by pleasure argument chronotopes festival of experiences their recounting people fe the of experiencing their invariably almost question

Only a handful of my int my of handful a Only ensity their of

ebr o the of members - based Some of my interviewees my of Some a camera; 's f of analysis The

.2 that the post the that

dealt with some forms of f of forms some with dealt dancer/choreographer Jen Abrams and filmmaker Barbara Bickart worked with worked Bickart Barbara filmmaker and Abrams Jen dancer/choreographer

in 2005 in - observation of the of observation accounts nd ventured the city the ventured nd aiy portraits family on -

erviewees asked for a clarification of this question. They were, mostly, artists visiting visiting artists mostly, were, They question. this of clarification a for asked erviewees Yugoslav queer festivals participate in the creation of a public space of of space public a of creation the in participate festivals queer Yugoslav oa LB cmuiy n iea Cota W dne Abrams' danced We Croatia. Rijeka, in community LGBT local and and

the sia man estival

xperiences of participating in f in participating of xperiences of “ 54 in 2009; and 2009; in

QueerNormal tvl ieadsae Ti s This space. and time stival

the occassion of the 2005 Festival, I participated in a collaborative a in participated I Festival, 2005 the of occassion ue fsia time festival queer ruh a ml t my to smile a brought a

f ,

estival time

gay cruising ground in the in ground cruising gay due to their artistic, activist or organisational or activist artistic, their to due Queer Zagre Queer

he installation “QueerNormal“. In this project, this In “QueerNormal“. installation he fso i Scin 4 Section in ifestos

n rn o mjr eeoomtv urban heteronormative major of front in estival c estival with video with as a researcher researcher a as “

installation at the 2005 Festival 2005 the at installation - 209 space hronotopes: b

- space Festival . -

interlocuto meras and engaged in fieldwork in 2010 I 2010 in fieldwork in engaged estival chronotopes estival .2

ection

for almost nine years as a viewer; viewer; a as years nine almost for figurations of figurations

and

and is meant to substantiate my substantiate to meant is and for our individual video individual our for r al t cos aog the among choose to able are shipyards of of shipyards rs’ that is devoted to queer festival festival queer to devoted is

faces: faces: f f of

sia porm in programs estival regional queerness regional the . the

Here, however, I however, Here, and the affective the and

usin about question Rijeka engagements venues During my my During the New New the

- festival festival harbor; harbor; stories have have

for for ; , ,

CEU eTD Collection 55 places did often she asfestival a visiting just and time there reme bring for all unruly joyous call in evident more even is chronotope essence the a of status the gets it of a personalyand communally powerful time artist, mult

The ITD Theater (“Itd.” is an abbreviation for “and so on” in Croatian) is a lea a is Croatian) in on” so “and for isan abbreviation (“Itd.” ITD Theater The s “

itude of experienced chronotopes experienced of itude m it “that magical“thattime it

all the time. T time. the all ( ,

se along:

ber where I stayed in Zagre in stayed I where ber Ibid. its brief duration brief its into F Slovenia and Austria from Ljubljana at there by close of space beautiful that space the of because W She d She H

for example for lected or those couple of days of the of days of couple those or elena's hy is everybody mentioning this one eve one this mentioning everybody is hy )

the .

f h fsia ti festival the of

escr “

carnival And there were all these encounters with others, and all that! I don't even even don't I that! all and others, with encounters these all were there And her e her ITD!

the memory of the intensity of the days of the conference (in her remembe her (in conference the of days the of intensity the of memory – ibes the difference the ibes –

all the screenings! I don't remember that I went to any (laughter), I was was I (laughter), any to went I that remember don't I screenings! the all

, ITD all the time. T time. the all ITD all the activists activists the all his is that magical time magical that is his xperience at the at xperience

in Ljubljana, and we would come, do o do come, would we and Ljubljana, in (Helena 2010, 4) (Helena 2010, festival , when the world is turned upside turned is world the when . So, H So, .

of the festithe of

), when it felt as if “ if as felt it when ), – me the the

elena describes the se the describes elena we were spending whol spending were we

- pc peoeo. hs es o itniy f h fe the of intensity of sense This phenomenon. space ITD . All in all in All . b during that time time that during b

her came. between being submerged into this magical festival ti festival magical this into submerged being between Transgressing G Transgressing val“

one which holds a paradigmatic sta paradigmatic a holds which one – he

words for words

festival, it seemed as if the whole the if as seemed it festival, you could come there, drink a coffee, everything was was everything coffee, a drink there, come could you ( re were groups of people of groups were re

for a day or dayafor Ibid. I also think that there w there that think also I

of the festival. When you When festival. the of 210 ,

- that was an interesting combination o combination interesting an was that space ) .

Her the whole the describin nt? I nt?

representative o ofher

ende nse of liberation that liberation of nse “magical time“ “magical – two t was something special something was t e days at the ITD theater ITD the at days e

- where I slept. I just know that I was was I that know just I slept. I where down and the rules are subverted by by subverted are rules the and down r : “ :

g the festival experience festival the g of conference in 2005 as 2005 in conference ur show and go immediately back immediately go and show ur Other festivals happened in other happenedin festivals Other

life has moved“ there moved“ has life ding student theater in Zagreb. in theater student ding

r nentoa activists international ere from Belgrade, Sarajevo, Belgrade, from

comes are

tus in that space all the the all space that in ther experiences the of close to Bakhtin's to close . Helena life has moved has life . Maybe it wa it Maybe . festival 55 . T . an

, when , a visual visual a ,

f people. f

here was here captures captures instance events events rance, rance, stival stival

she she me :

CEU eTD Collection time permanent becomes it this when time festival of becomes what is question the experience, social and artistic concentrated through fest the of the turns circuit festival of organisers the For organisers. data festival space for both happenings cultural happening; S Depression Y festival. time different of sense acute an and possible, seems change chronotope where special a to belonging of sense shared a interlocutors: my of many by shared “s festival a of fashioning that emotions the and space youwhenforand a come ofdaysplace live couple festival ina happening where is I so wouldn't stay for more days. more for stay wouldn't for Through humor, Helena pinpoints the links between the inten the between links the pinpoints Helena humor, Through This transformation of transformation This turned permanent into time a here, exhibition mi the expecting in be are to have you not do you city, the in happening be to something for month I Ines f you follow you f

cultural workers involved with the festivals, most of all for artists and festival festival and artists for all of most festivals, the with involved workers cultural ival time, as of Bakhtin's carni Bakhtin's of as time, ival u post our , youpeople, the miss

who volunteered at volunteered who nrm S yu ae ht FS ad is tha miss and PFDS, that have you So yndrom!

and time exists - etvl ie s bt em bit a is life festival

culture, you do not have to wait any longer let's say three months or a or months three say let's longer any wait to have not do you culture, -

has became herhas profession: hn h days the when

calendar into a continuous queer festival period. Sinc period. festival queer continuous a into calendar

de f hns l te ie E time. the all things of ddle performanc yndrom“ downplays its downplays yndrom“

the festival festival make the and . Queer.hr

I guess we didn't have that magical time of the festival the of time magical that have didn't we guess I (Ines 2010,4) post Queer Zagreb Queer

the pro

e there, a book presentation. N presentation. book a there, e h eprec fr t participants its for experience the time int time melt together into one, and it all all it and one, into together melt - Yugoslav Yugoslav val, is the intensification of pleasure for the for pleasure of intensification the is val,

gram! porta t ad depressing and pty 211 o permanent time permanent o ? A p A ?

l “

intensity quee and ( Ibid. ermanent disruption of social hierarchies hierarchies social of disruption ermanent 2010 and who as a journalist follows the the follows journalist a as who and 2010

festivals r ey ek hr i a oeig f an of opening an is there week very the how describes newspapers, other longin ) .

but makes clear the clear makes but afterwards g Te s The .

is especially intensive intensive especially is sae hr al ht was that all where space t

and ow the festival time has time festival the ow s ity of ity cle P called o for

becomes one long long one becomes

o intensive so : rit, h qu the artists, time festival the “D e the specificity the e efinitely “ os symptoms “

( t - Ibid. Festival Festival viewers in my my in .

) that that Her . eer

– – “ -

CEU eTD Collection the to entrance free have I realistically also that means which festival, the at volunteer a being o experience and anticipation The a volunteer a as helps also she that degree F performanc or films individual of sum the than and down, upside heteronormativity of space parties week festival queer the during experienced intensification The year. the of time ordinary the of rest the from difference its to related is lives their in holds both queertogethertime everyday and prolonged gets it if edge subversive that G to similar very dilemma the this, of subve Because of transformation politics. the accompanies queer of strivings liberatory activist the togethe brings circuit festival of spirit reestablish may time with estival Dunja is interested in bei in interested is Dunja isolated if those, even Iinteresting muchinthemood am so or not But performances. and shows in moments importa especially is space anything and time festival this me, For It seems to engage into engage to seems

in etvl s carnival as festival would appear would 2010, recountsher topart motivation

“ organised outside of the festiv the of outside organised , I have not gone e gone not have I , whether is question The dilemma“. “queer amson's

that for most of my informants the special status that status special the informants my of most for that

some form of rules and social order, and defeat the purpose and purpose the defeat and order, social and rules of form some Te oiiy f rit, raies and organisers artists, of mobility The .

r commodification and touristic motives, on the one hand, and and hand, one the on motives, touristic and commodification r making space for non for space making ng an active participant of the queer the of participant active an ng f the festival period verge on “pleasure“ on verge period festival the f

ven once. once. ven into the everyday, but also, how to bring to how also, but everyday, the into and turninto sves f etvl ie no praet ie is time“ “permanent into time festival of rsivness nd takes an active part in the F the in part active an takes nd shows which I wouldn't have otherwise. But it is it But otherwise. have wouldn't I which shows 212 because of this, of because I am not usually interested in films as much as much as films in interested usually not am I al time. For example, these films at films these example, For time. al icipate inqueerfestival space es. Dunja, a volunteer for volunteer a Dunja, es.

for them – -

effective community politics. normativity not only do I have duties duties have I do only not .

(Dunja 2010,4)

means more for queer viewers viewers queer for more means –

– when everything from art to art from everything when

– turns the regular time and and time regular the turns nt.

hy r sml nt as not simply are they queer time time queer

festival time in such a such in time festival d nt reall not do I viewers estival community. community. estival

the for her: “ her: for

the time the every day, every

Queer Zagreb Queer on the queer queer the on

festival time time festival can can

potential : the

I opt for for opt I keep its its keep g to go y “ Queer

but

of of CEU eTD Collection come, andgo visit aw and o way story“ other whole “a is the for that supposes welcoming to time spending into imersion notjudgewill him space protected it inhabit who six for space“ for a shortperiod volunteer, no lo they is aspecial pleasure (laughter) freeticketsthe about much so not velty of of velty

festival professionals, it is “ is it professionals, festival r combine it in some way with their everyday life. For her, as for many other volunteers volunteers other many for as her, For life. everyday their with waysome in it combine r

k owr t te hl ya. It year. whole the to forward ok and finds this atmosphere of “ of atmosphere this finds and totally different world there time spend permits the for asking Y organising. are fr separated get you and long, terr all Itis rm e pit f iw s vlner se s wr ta i i peiey hs total this precisely is it that aware is she volunteer, a as view of point her From expe her about talks Ivana as week festival the about talk also volunteers Other consequtive years consequtive

for instance, for the festival content and the sense sense the and content festival the epe ht all that people o mc getr degree greater much a to - , one she chooses, oneto. she toreturn

ibly condensed condensed ibly lasting those five, six five, those lasting for viewers ay. You getof it“ ay. much more out who he is“ who

the festival time festival the in compan in in the sense that they take part in this world only in a in only world this in part take they that sense the in u r dig ny ht Yu r rnig o h Ct cucl and council City the to running are You that. only doing are ou : “ : w oe h eprec o ti “oal dfeet world“ different “totally this of experience the one ows This world This

. who only show up in the evening forevening the in up show only who

“ (Ivana 2010,5) (Ivana (...).

( Ibid. much more interesting to be to interesting more much

ehr n saig spac sharing and gether ( – – Ibid. ine f h F the of rience

it lasts it y with others until until others with y I simply want to devote time to this, and I really love it. It it. I reallylove andthis, to time devote to I want simply e i te vnn, o cm t te per the to come you evening, the in hen :5) toler om your ordinary life. T life. ordinary your om :5 . is uncomparably more tolerant. It tolerant. more uncomparably is

– - days space feels space sal stsis hi epcain i trs f the of terms in expectations their satisfies usually ance“ 6) not than .

213

. E .

more than five or six days.Y six or five than more

community of ordi a strong motive fo motive strong a

verybody there knows that the other person other the that knows there verybody estival ay life nary like living like

( one or two in the morning. T morning. the in two or one Ibid. n terms in wt other with e :6) You .

his happens at any festiv any at happens his part of the festival than just to just than festival the of part an . hy find they

in a “totally different world“ different “totally a in

seily nesv period intensive especially r coming back to volunteer volunteer to back coming r one show or a screening, it it screening, a or show one

f in of experience habiting F . non accepts o r vn, another Ivana, or u are in it all dayall it in are u - threatening but but threatening

fo oe id of kind some

less engaged less rmance, and and rmance, “protected a

the people people the hat is a a is hat al you al . She She .

CEU eTD Collection is one bou the notice to him, to according festival the after that space and time festival participant behinda the intensityexperience festival ofbelonging of tocommunity: stage the through “enter(ing)puts it world“ intoanother encounter audience they encount finally when week festival the in culminates but year the spans them for which experience,

somewhat late in entering what has already begun to function as function to begun already has what entering in late somewhat - going tofestivals! is that space two until discussion fabulous a mean don't worked already has something together, plans made they else, somebody I formed. been already A happened. T this of description detailed Zvonimir's of itsfirstthree d begun festival already has which festival a to arrive (festival) some to arrive go I Her to Similarly goer

hey have already been drunk together, the together, drunk been already have hey come

ed etvl eid s vr Zvonimir over. is period festival n ter reaction their and to a festival a to s w ae fee a offered are we e ad o i gt noticed gets it how and ,

again the trope of Bakhtin of trope the again formulates the experience like experience the formulates

. from the position of someone of position the from er I

am suddenly washed over by the by over washed suddenly am the artists and artists the s of immersion into the festival time festival the into immersion of s

t first, t bounded (...) bounded

outes ognsr cno bt e mesd no h festival the into immersed be but cannot organisers volunteers,

– ays

as many days as I am there, even as little as three days days three as little as even there, am I as days many as ( Ibid. you . one will one

I . (Zvonimir 2010,6) (Zvonimir

) t is not surprising that when when that surprising not is t feel like a stranger a like feel , you enter into another world. another into enter you , comprehensive

the

T hat is what is beautiful is what is hat ndary between ndary art th art

realize :

in the mo the in n h frt lc. oeie oe is one Sometimes place. first the in 's “second life“ or as the the as or life“ “second 's ey have worke have ey how much it differs from differs it much how

214 “entering into another world“ another into “entering who makes festivals happen. festivals makes who s n experience an as

eainhp but relationships description of how festival time feels to its its to feels time festival how of description

rning.

history y watched great shows, greatshows, y watched

entering a space where some liasons have liasons some where space a entering the ordinary and “another“ and ordinary the whole his whole – Y - d to bring to the festival the to bring to d space. It also makes clear the affects the clear makes also It space.

ou understand that you arr you that understand ou hn arv i t in arrive I when of about festivals, and, festivals, about a tory of this festival this of tory etvl chronotope festival (...) talk fsia professional festival d program somebody hang out with with out hang somebody

n wt te raies I organisers the with ing I especially feel it when I when it feel especially I

your ordinary tim ordinaryyour

“ festival festival thi I know that when I when that know I

. The easiest way, way, easiest The . director Zvonimir director e ide f the of middle he

ngs have already already have ngs so

actually, I love Iactually,love world is when is world

as well as well as out chronotope immersed – –

the history the

ived into a into ived when you when , they h they , ak us walks e and a a and only only

the

ad ad in “ ,

CEU eTD Collection the F f the using on work her explains enterta whether something she noticed festival could we call spaceand time: of organiser Karla, their from back become has step what on the critically reflect takeand experience immediate to speaker the allowing time same the at while response involved so are general in endof the of festival, already theopening happened. night things have day first the as span time short a such even cro first its of “history festival's and relationships, rhytm, own its with ssing estival chronotope into ameaningful community experience:estival into chronotope inment program that brings the F the brings that program inment h ofc, u a uc o vlner, l srs f epe h hel who people of sorts all volunteers, of bunch a but office, the T them. with you somehow and watchi movie, a watching areyou Because, impressions. they that feeling a have festival, the at day entire T festival inthecit is t fest mo T festival team. fe at of Part f The hat is in the air. Obviously, I think that all those three things are present when the when present are things three those all that think I Obviously, air. the in is hat

hat's more intensive when there is some night life happening. Then the people, after people, the Then happening. life night some is there when intensive more hat's our and festival the of program film the between differences with meant I what is his over tvl A stival.

tl fl sreig. I screenings. film nthly have an intense intense an have ival fever, and people people and fever, ival estival people estival . The bustling intensity of festival time makes for the rules of its own, so that so own, its of rules the for makes time festival of intensity bustling The . Karla's that some question in our interview would trigger a long and complex complex and long a trigger would interview our in question some that s te rit cm t tee ih p night these to come artists the lso the here are also the people who are who people the also are here

T his is thething most his is thatconnects the us

Queer Zagreb Queer oe s n organi an as role y! relationship with the space and time of their festival. At ti At festival. their of time spaceand the with relationship

always see always in my data my in

three days“ three

(Karla 2010,7) estival “fever“, the sense of “somethi of sense the “fever“, estival do not come for that festival m festival that for come not do tee otl fl sreig, ht s isn i that is missing is what screenings, film monthly these n

and editor of editor and , all those people. people. those all

from organisers and artists to artists and organisers from

gives an gives estival people together after all the shows. the all after together people estival itr. h iae f en “ being of image The history. e i fcsd n utn tgte te eveni the together putting on focused is zer

of the festival becomes a unit a becomes festival the of 215

insight into the experie the into insight the

organising the festival festival the organising rograms. Queer.hr portal, laughed when I asked asked I when laughed portal, Queer.hr I

n the evening you can dr can you evening the n can go somewhere, and somewhere, go can .

ng a performance, socializin performance, a ng ( Ibid. I see see I

ingling, and that something that and ingling, intimately known t known intimately

:7 viewers

ng in the air“, to make make to air“, the in ng this this – washed nce of the moment of of moment the of nce 8)

s h glu the as of –

u drn the during us p

not just us from us just not and and history

vr b the by over“

collect their collect volunteers ink a beer beer a ink mes, t mes, Here she Here . By the By . o the of e o them. o hey ng ng g , ,

CEU eTD Collection some to continue friends: and community lon extends festival queer paths official the off walk who those by in trodden as functions to Y that like week politics identity experienc their for means that what and afterwards festiv phe the into glimpse a offers also She herself. organiser an becoming F period of They time. itasan perceive “event“. festival“ con by translated be best might which socializing the of experience cultural and artistic the of excitement of sense the around F Zagreb Queer allies and persons estival ou know each other! each know ou each other in l oet te oet when moment the moment: al e dsrpin o description Her her described Karla She ,

being impressed and taken in by the program and the people she encountered, to her her to encountered, she people the and program the by in taken and impressed being other by also associated possibilities of fulness and

ih epe trce b tee ae vns and events, same these by attracted people with identifies

atr h fsia week festival the after g -

“You

commun this time of a small group of of group small a of time this , you meet that person that meet you , participants

: “ : the tram (laughter) the tram estival You are standing and standing are You

other place. T place. other

are in front of the cinema, the film has just ended, and you would like to like would you and ended, just has film the cinema, the of front in are oehr uig h festival the during together

this t “le speak “glue“ ity

You are familiar with familiar are You a well as , f

festival “glue“ festival

h fsia tm ad space and time festival the intersperse the city with with city the intersperse trajectory from a young person co person young a from trajectory hen some five five some hen

s a as ! T hat terribly is cool!“ hanging aroun hanging Kra ie u anoth us gives Karla . on ohr post other round t Ahmed's to s watching watching etn i t te es o te mgcl ie f the of time “magical the of sense the to it necting festival

that brings and holds a diverse community of queer queer of community diverse a holds and brings that viewers 216

each other from the Queer the from other each persons appear behind you, a group, and you and group, a you, behind appear persons -

goers recognise each other on the street street the on other each recognise goers week –

beyond the actual events actual the beyond who are those people those are who e of the festival and the city the and festival the of e becoming a large gro large a becoming d the city, the d cmlx ewr o dsr lines desire of network complex a “ The . that eie lines desire - uolv festivals Yugoslav

( Ibid. ok a works festival community around around community festival ming to her first first her to ming r sketch er interviewees a :8) you sta you

es of sense .

“ a s : nomenology of a typical a of nomenology ie in lines rt greeting each other. each greeting rt

site

of of (festival)

around me? A me? around up of acquantances of up significant

gt constituted gets , with this specific this with the making of a a of making the . In this instance, instance, this In . f trcin and attraction of

festival Queer Zagreb Queer the

! Y ! in terms of terms in l andscape , around around , ou ch an f wink ter a ter that that the the ge ,

CEU eTD Collection potential revolutionary relates openness and vulnerability ti “magical the when participants some among influences, up completely.You ar in vulnerable W “ period: in falling to succeptible particularly as self younger his recollects of level ( empowering is it but level, one on banal be might This together. show theater a watched only have you fact in but “empowering“ profo has it but happening, is it when moment the at banal seem might it Croatia: in community LGBT the for and her for steps small these of significance just F comm queer small sudden“ a of “all group bigger a of formation yousuddengroup are eightacontinuing of tosomeother together peop three or two some with are also Ibid. estival hen I was younger (laughter), I would always fall in love at a f a at love in fall always would I (laughter), younger was I hen

) side .

The Participation spontaneous This . The . emotions. Zvonimir emotions. That's why I love going to festivals festivals to going love I why That's - fet o clua cnupin ht n w end that consumption cultural of effects ecie a describes existenti

a way, so open for... T for... open so way, a making

for queer p queer for unity in a country a in unity

n h qer etvl pc ad ie a hv pwru ipc o the on impact powerful have can time and space festival queer the in

on the level of community. of level the on of a small group after a queer show and the winking in the tram are not are tram the in winking the and show queer a after group small a of e totally like a sponge“ eahr of metaphor f etvl: hi potential their festivals: of hightened ersons involved in the exchange: “ exchange:ersons involved inthe n productive and

talks about f about talks

both to the pleasure the to both tt o rcpins t te festival the to receptivness of state

hat co hat where queer visibilityis queer where

le, and they are like: hey, where are you going? A going? you are where hey, like: are they and le, “ sponge“ a ncentration of artists and artists of ncentration estival time as a “very intens “very a as time estival fet f h “aia tm o te festival“ the of time “magical the of effect 217 (Zvonimir 2010,6) (Zvonimir –

has to be understood in its full its in understood be to has because I know that it is a very i very a is it that know I because e f h fsia“ s t work at is festival“ the of me

, I find this important this find I

ucpil ad open and succeptible to turn around hierarchies and norms of of norms and hierarchies around turn to in taking part in the festival and to the the to and festival the in part taking in t socializing ith Y almost contemporanous with the the with contemporanous almost ou feel l und cumulative effects cumulative und .

es place

ideas somehow opens you opens somehow ideas tival. oedrn ti charged this during love ike you are now friends youare nowfriends ike

Kra ons out points Karla . from the activist side activist the from “

e time“ e chronotope ( Because you feel so feel you Because

Ibid. o mliue of multitude a to ) Ti sae of state This . . potential

and jokingly and ntense ,

possible possible ll of a of ll

–

time. time. for a for

it is it – the

“ a

CEU eTD Collection th condenses he goexplodes, time and space Festival week. one of period short a set in organisation expectations its of year and a throughout energy the up burns that event cultural of form strange a is festival organise artists, form“ “strange this describe people festival which but sometimes reallyat happen afestival happens what aware obstaclesmight festival preventthis of that steps“ “three those make festival artist of extra“ “something that for looking and difficult of sense on tosuggest thatthe p the on reflecting and everydaylife Zvonimir neverfor! plan W factors. At it. for wishing it, get we by sometimes simply festival particular a from it it! get get never cannot festivals You Some festival. every at happen not does It happen. to that like goodaudience a andgoodvolunteers goodteam, ahave to needs S i isdr outlook insider His ic and interpersonal creativity, interpersonal and ic to ometimes it might be very difficult to create some kind o kind some create to difficult very be might it ometimes pn po open achieve may it be es up in flames, es flames, upin

s ut e perfor ten just is rs. In the end, he talks both in term in both talks he end, the In rs.

sac fr h formula the for search e , e

h sblte mgt be might ssibilities in a way a in asily shifts speaking positions, positions, speaking shifts asily rofound influence rofound en it does happen, I think it it think I happen, does it en participants ( Ibid. “

, (

Ibid. :6 to engage to : sometimes we don't. I don't. we sometimes only to getonly“deflated“ to ie a isgt no ht seil rhytm “special that into insight an gives

– n is atclr tagns fr l o is actors its of all for strangeness particular its and 7) :7) acs n ee dy. Sometimes days. seven in mances

go through a similar kind of experience and thatsharing kindofexperiencego a similar through extra .

this festival pro festival this

its parti its

repeatedly , from from , to that of an organiser searching for ways to ways for searching organiser an of that to the toward

ai o wa h call he what of basis f scesu fsia: oeie a amazing an sometimes festival: successful a of 218 cipants into a temporary new social order. From order.From temporarysocial a new into cipants powerful experience of being in the queer time time queer the in being of experience powerful

that represents a success for the festival you can can you festival the for success a represents

“togetherness“ ek out seek . Self from that of a festival participant enj participant festival a of that from t depends on the progr the on depends t s of rhyt of s . From his professional experience, he is he experience, professional his From . mise has had on his life, Zvonimir life, his on had has mise - critica H sace aro searches He . h m, and through visual metaphors: metaphors: visual through and m, lly as an experiencedas organiser lly an

from taking off: from “togetherness“ s f together f

those ten performances performances ten those – “ am

i ht apn only happens that n order for a boom afor order n

und for terms to to terms for und – ness. A ness.

there are many are there

“ Sometimes – the Queer, the how ,

have viewers

festival oying

goes ever

this this his , ,

CEU eTD Collection one ofthe important this contributions of most on focus the find I follows, that analysis post the in meanings its and general, in culture and art queer understanding to approaches their the at art queer the of impulses normative in interested to relation in queerness of meanings the around revolve negotiations these of part important An place. take can context regional and local in queerness of renegotiations the where norms the questioning of possibility and Post 7 participants as post of chronotopes festival queer the how in is here envisioning of is this saying possibilities not am I sociabilities. up open and year the of rest the from chronotopes areas experienced my magical by many of interviewees time may positions diverse stays flat. happen not does it up springs festival .3

- - Yugoslav Yugosl Queer Art according Artaccording Queer to M s This my

av queer festivals, as Section 7 Section as festivals, queer av interlocutors’ meaning interlocutors’ if and and if cin ruh u coe t hw the how to closer us brought ection events of events region. While “queer art” remains a contested term term contested a remains art” “queer While region. in front of your eyes, while at other times other at while youreyes, of front in – how my interviewees my how

you just have many shows happening one after another and the festival festival the and another after one happening shows many have just you experience the time and space of of space and time the experience rupturing ordinary time and bringingtogether.rupturing and ordinarytime people queer production - making around queerness in arts in queerness around making c y haracteristic haracteristic Interviewees h art the

experienced and translated into their lives the anti the lives their into translated and experienced .2 has shown has .2 Queer Zagreb F Zagreb Queer

219 f ei theory” “emic of research project. -

ok themsel works of

ue Zge Festival Zagreb Queer queer chronotopes chronotopes queer

- Yugoslavia are experienced by their their by experienced are Yugoslavia , provide the time the provide , “ festival queerness festival

estival despite all organisational efforts, organisational all despite

Beltrf 00 218) 2010, (Boellstorff ves as much much as , I was also fascinated by fascinated also was I , . hl I a primarily was I While in our interviews our in n living and only - sp - spac in theory as in the in as theory in ace “

. people people but my interest interest my but Queer festival Queer

e of openness openness of e that stand out that stand out

dif n their in -

ferent

– to be be to

the the - CEU eTD Collection questions. answering thein turn skip to contestant 56 around explaining it” ( cool super is queer “That jokes: researcher queer art queer the affronting for informants researcher. a as Despite me to open not option an term, vital a define to have to not option queer and in th of awareness shared the recognizing (laughter)! three a into something put would that person of kind that not am I Simply, me! of front in paper of pages twenty having without it into get to want even not do I that me! forgive a outright po their from for ofthem,luckily but most art, queer or queerness as complex and fluid as something defining or explaining into venture art” “queer Croatia of context on move to motivation constant

n h fmu Ygsa '0 T qi show quiz TV '80s Yugoslav famous the In the probably what is queer now at the moment is not queer at some other point. point. other some at queer not is moment the at now queer is what probably fl somehow is It m is it of context the in mentioned often is It mainstream. of kind some is Queer My research my of dilemmas persistent most the of One

seeing nd refused to be taken in the “queerart” the in takenbe to refused nd local context, and a sheer enjoyme anda context, sheer local ”

laughter at Karla’s direct Karla’s at laughter

(Karla 2010, 9) (Karla 2010, en Drn te neves fl ta ms o m itrouos eiae to hesitated interlocutors my of most that felt I interviews the During mean. ( Laughter of Out view. of int uch more than that than more uch the s the

and then, in the same local and intensively and local same the in then, and ubversive relief of Karla’s kvisko Karla’s of relief ubversive

(Jelena 2010,9) ) Sorry, kvisko! No, seriously! It is something so impossible to define to impossible so something is It seriously! No, kvisko! Sorry, ) i, tdpns ntescey n ieadsaeweei cs so acts, it where space and time and society the on depends it uid, .

my a

move away, some resistance, everyt resistance, some away, move –

research, – twenty

is the question of question the is i t is t

. He continues . He refusal to reflect on the on reflect to refusal

connected also to the body, to body, the to also connected

cmlxt o cnrtzn “queerness” concretizing of complexity e iem, oee frustrati however dilemma, interviewees Kviskoteka

entered this messy todepictthis attempted it entered terrain and nt of seeing somebody use the seeing the somebodynt of use 220

debate , using the kvisko was an option that enabled the the enabled that option an was kvisko the using , : what “queerness” what

Sic , t ,

queer outlook, I was grateful to other other to grateful was I outlook, queer here was only one voice that laughed laughed that voice one only was here

. out of out , h ol tig s o c you is thing only the ), sexuality and sexuality –

networked context, what would what context, networked dilemma is both is dilemma

principle. Itwas principle. both a stumbling block and a and block stumbling a both g A Jln, hims Jelena, As ng. hing that is different, is that hing percept

genderedn in in kvisko the ion of the world the of ion - word de word post complicity in in complicity Karla’s: 56

ess

- n general in option no get annot Yugoslav Yugoslav . finiti I think think I (

Ibid. “ l a elf No

not – on

a ) . ,

CEU eTD Collection F festival queer British between differences the of analysis insightful and artist performance queer British a Johnson, Dominic their and F Zagreb Jelena engages debate: this 2007 Straayer and Waugh 2003; Sullivan 2004; Sheldon and Meecham 2004; Griffin and t work, non gender and sexual to degree certain in refers art queer whether of questions The about. talking is Jelena that questions T avoid. cannot art queer have created it they that factvery bythe time, same the at that but traditional, very or mainstream veryseems way. some in queer as identify him: for territory new a like Je although Wh mainstream. gender sexualities, normative estival o its reception, or to the framing of its exhibition exhibition its of framing the to or reception, its o Here Jelena is venturing in the complicated definitional territory that the discussions thediscussions territoryin the complicateddefinitional that Here Jelenaisventuring scenarios it surpass Itlive. wewou which in world the and reality of boundaries the moving be would art queer me for but myself, creatin persons queer imagine can I

One exciting aspect of aspect excitingOne queerness finding Although .

estival understanding lena is a is lena – . I asked them asked I .

en it comes to thinking about queer art queer aboutthinking to comes it en .

that this perspectivethat this wh

or or ( Ibid. depict the reality as it is much more than it is currently done in some stale stale some in done currently is it than more much is it as reality the depict frequent )

of queer art in relation to their own art and to the art the to and art own their to relation in art queer of e otmoay icsin aot ue at tl cat h main the chart still art queer about discussions contemporary he

visitor of queer festivals, activist and artist events, still it see it still events, artist and activist festivals, queer of visitor “ my field my - xrsin and expressions Q ld intro ld about their impressions of impressions their about

ueer art might be something that is created by people wh people by created is that something be might art ueer cn vn mgn ta te mgt rae som create might they that imagine even can I - normativity of its creators, to formal elements of the art art the of elements formal to creators, its of normativity

hard to define, Jelena still still Jelena define, to hard - duce us into some newinto us duce wor ere from they come k

at ht s o queer. not is that art g 221 consisted in talking with talking in consisted

embodiment , it gets even more difficult more evengets it , –

academic, the post the have not been resolved been not have -

ad t opstoaiy o the to oppositionality its and ,

m moment or moment navigates akes queer it - Yugoslav s and and s for instance, instance, for N the w ’ contradicting I’m ow

tr its relations to non to relations its artists present at the at present artists y to transform it or yit transform to the ”

( quee of other artists other of Ibid. Queer Zagreb Zagreb Queer

to respond to ething that that ething

r festivals r offered an an offered ) (Benshoff (Benshoff .

ms of ) o - ; . , .

CEU eTD Collection thatand heterms positions “ identity” “sexual with concernedoverwhelmingly approach this on Based research. work qu about thinking approached of spoke especiallyfascinating anwas Johnson engag are they process and projects other of work the to exposed being F und wit engagement his pe colleagues sia, t a itrsig o bev hw hi oens to openness their how observe to interesting was it estival, erstanding art: of queernessin s

n u itriw h also he interview, our In In interviewing interviewing In the body po subject heteros about assumptions different critique thinking about but sexuality, male but answer, winded convention of kind a reiterating be it What way. thin to managed actually W t about assumptions challenge can 2009,1) (Johnson you which in ways qu s view broad really men's gay of sort drag, Sco in Glasgow quee what about view open s shows four seen I've e a encountered has he how we just saw just we how

h eerness might be about about be might eerness his method of theorizing queer art through practice of both art and theory. He He theory. and art both of practice through art queer theorizing of method his t a cros bu te Pqeet” show “Paquerette” the about curious was at

ht mn n a oa, r e ad wom and men or woman, a and man a that the at rforming .

( Ibid. is really exciting is to try to think about it as a queer perspe queer a as it about think to try to is excitingreally is h the work of other artists other of work the h ) tland, and Queer Up North. T North. Up Queer and tland,

four

- (

“Paquerette”

what is interesting is how queerness mi queerness how is interesting is what if you just look at Raimund (Hoghe), maybe my show, and the the and show, my maybe (Hoghe), Raimund at look just you if q hr, hc bcm oe of one became which there, artists Queer Zagreb F Zagreb Queer ueercriticality” eer art through analyzing through art eer o far, including my own my including far, o

theater k about k sexuality, but also about thinking more sensi more thinking about also but sexuality,

focused on a particular festival, queer art, for him, is n is him, for art, queer festival, particular a on focused ae n vriw f i ratos to reactions his of overview an gave n y aa f hs who those of data my in mgt signify. might r d n n t and in ed

participant . W . rit mk them make artists al traditional dyn traditional al )

male - exual male monogamous, male exual hat is fantastic about this event this about fantastic is hat

there's something really really something there's 222 . estival

female sexual relations in a fairl a in relations sexual female at the 2009 F 2009 the at

in that in a cud e emd qer art” “queer termed be could hat but rather but

in 2009. What is especially interesting in interesting especially is What 2009. in hey're quite restricted to restricted quite hey're n h U, hr ae a festivals gay are there UK, the In - the ,

amic of power (…) I (…) power of amic

Zagre (the but as both theorist and a queer artist queer a and theorist both as hc I absol I which reformulate their opinions on the the on opinions their reformulate Queer Zagreb F Zagreb Queer methodological beacons for my my for beacons methodological it is it estival is estival en a participated had questioning ,

moved by particular interesparticular by moved iin wih lo yu to you allow which sitions a cm tgte without together come can e oy n normativity and body he

ght not just be about be just not ght open about thinking how thinking about open depoliticiz b festival) b the tl lvd s that is loved utely

is that it's taking a taking it's that is

subtle subtle estival

hi on r and art own their h wr o his of work the t's a really a t's a tively about the about tively ctive ctive ed ideas about ideas ed kind of camp, camp, of kind t h Zagreb the at y progressive y

approach to approach has a really really a has and the art the and Dominic . -

how can how long

, gay

he ot ts it - - - .

CEU eTD Collection her reading, withclas art whatmatter, that foror art queer whatdifficultynoticesdefining art,the in feminist of festival artists the of that as complex as bit every F Zagreb Queer world”: F German work own his of motivators main the of one Zagreb Queer b distinguish estival

is , and how connected that definition is with commercialization and art institutions, or in or institutions, art and commercialization with is definition that connected how and , cliché of g of cliché something me for Tchaikovsky about think love heterosexual this do I For For me, it is how youFor me,theworld ishow lookto it If some professor of art history says that something is great, than it is all of a sudden a of all is it than great, is something that says history art of professor some If W in the e in criticality queer a to starts work her (Bardsley) Julia they are the most valuable ones to me. So for me, (Ana) Opalić is so valuable because because valuable so is Opalić (Ana) me, for So me. to ones valuable most the are they much so worth When it comes to how my other other my how to comes it When

Hr h epan hs understand his explains he Here . n dance, gay artists artists gay dance, n ven about sexual identity. W identity. sexual about ven acr n choreographer and dancer e again have the question of what is art at art is what of question the have again e Raimund Hoghe, Hoghe, Raimund

ten h mr cmeca gy etvl ad h qer r fsias like festivals art queer the and festivals gay commercial more the etween context ofdiscoursecontext onqu

that ar that estival ay artists artists ay s issues. e not devoted to what he calls “entertainment” but to “diversity” to but “entertainment” calls he what to devoted not e

, more. more.

coming last year last coming and in general, the general, in and very important to express to important very really intere really sk questions about queerness and about queer positions positions queer about and queerness about questions sk - don’t present that they are gay are they that present don’t

the young muscled body muscled young the But these artists these But

another artist another

story. -

it was not possible to express to possible not was it

hat's really exciting is trying to position that sort of work of thatsort position tryingto is exciting reallyhat's and he he and

sting ways sting T eerculture,identity, queer and he

(in 2008) (in

non n o que of ing Swan Lake that Lake Swan perspectives of the viewers and the organizers are organizers the and viewers the of perspectives among my interviewees my among Gb, F a Gabe, . 223

s feun gu frequent a is who belong to the community the to belong who .

(Hoghe 1 2009, artist artist s well as

. I . t

all. 's not actually very very actually not 's is . F . nomns understand informants – er art as a mode of “look(ing) “look(ing) of mode a as art er not a queer artist as such, but actually but such, as artist queer a not

or younger people younger or

Riud oh i a is Hoghe Raimund . That is completely connected to class. to connected completely is That sia vee ad n raie o a of organizer an and viewer estival but - Iprese that

they hide it ve it hide they s ats a the at artist est –

2) it can be something different. something be can it

this in his time, so this was was this so time, his in this

nted three years ago,years three nted ,

it was it

queer politics queer graphic;

to see not see to ry much, and they they and much, ry

also and do their art their do and queer art at the the at art queer

Queer Zagreb Zagreb Queer

contemporary

it's not really not it's important to important .

- ( only the the only

Ibid. kind of kind

that is that t if y if o

) the the the ou ou

–

CEU eTD Collection (Sic. w for or norms the question would that Something all at fact Festival non feature persistentmore be to said be cangeneral, but determined ( a seem glance first at that things some absorb o modes new and media new the toward open be should art queer art) lesbian (for definition “openness” on insists category”unstable very “aas itself queerness about talking art, queer parallelwith 5) 2010, (Ines for or novel a considers and themes, ab and impossible it finds She itself. in art defining of process the questioning by art queer and art lesbian about talking ( deal to has queer consider I What all! at queer T art. queer be would that would definition Ibid. Ibid. - omtvt, uh s eti “strange(ness)” certain as such normativity, ), strange :16 ) .

Similar to Similar Asked to explain what she means by “queer art” “queer by means she what explain to Asked neede sh : “ : – e does her artistic things, things, artistic her does e 17) Ithink

– y oe hrceitc which characteristics some by d for the community d for

” ue atss ( artists? queer

In a similar way, Ines way, similar a In

to (Ivo 2010, 4) (Ivo 2010,

be that definitely (queer art) is not done by queer artists! What would that be in in be that would What artists! queer by done not is art) (queer definitely that Ines’ be –

appreciated only through one segment or one framewor one or segment one through only appreciated

a certain distance certain a s as

“openness”

surd to define “lesbian art” “lesbian define to surd t mi dfnn feature: defining main its hat co hat – .

h sm a wt qer ar queer with as same the Laughter uld be extreme or extreme be uld .

(Gabe 2010,14) , Ivo , , who is a viewer and a journalist, a and viewer a is who , h i cmltl hr ad oprts n n project any on cooperates and here completely is she that matter, any work of art, “too complex a structure” a complex “too art, of work any matter, that ) It is simply an art work that has queer features. features. queer has that work art an simply is It )

from the norm that concerns identity. For me, art lik art me, For identity. concerns that norm the from , who is a Festival volunteer, Festival a is who ,

r dfiut o eie eas itisc o r in art to intrinsic because define to difficult are 224

with identities and distancing from the norm the from distancing and identities with i te d nt be not do they if s

pervading

minimal s

in terms of sexuality of the author or the the or author the of sexuality of terms in

a w wud a ta i los ‘queer looks it that say would we hat “ of art concerned with sexual and genderand sexual with concerned art of a rftn t refuting am I , Gabe continues: Gabe , t. It’s the same same the It’s t.

h wrs t the at works the or an artist does not have to be to have not does artist an or f expression expression f og n h sm basket” same the in long

talks hat very possibility of of possibility very hat

expa “ thing. I believe that that believe I thing. A

about queer art as as art queer about ctually, the nicest the ctually, nd k. She draws She k. - Queer Zagreb Zagreb Queer

s so that it can it that so

the ways of of ways the

( Ibid. ) , and , ” e a ’

CEU eTD Collection it: non in groundedness its and sexuality, clarifies that art queer of definition concrete a with a studying art. even moment reality your changing thi you when “rearrange(ing)” al that conclusion a at arriving means ofnorms,kinds oftena to leads outside thebox” with ”queer” within art of piece a showing example, for

Ivana if the

Most of my of Most 2010, 17) mo to brain the forces somebody t anything away step a At marks. quotation different consideration What

Reflecting on Reflecting their about interlocutors my asked constantly I they are not themselves artists or cultural professionals, are passionately involved with with involved passionatelyare professionals, cultural or artists themselves not are they . Gabe ”

LGBTQ issues at all, but all, at issues LGBTQ ( rt history, rt Ibid. had nk about it, all art should be queer. Art should be doing that doing be should Art queer. be should art all it, about nk s important is

then complicates the def the complicates then answered in answered ) en vol been .

of normativity: of soci of o do with the LGBT issues LGBT the with do o

from the norm: it is so is it norm: the from interviewees volunteered at and attended and at volunteered queer in terms of terms in queer

or expanding it. So I think that art in itself should have this queer queer this have should itself in art that think I So it. expanding or etal etal nern fr h Zge F Zagreb the for unteering

the affirmative. the norms, or as she puts it it puts she as or norms, o m i ta te festival the that is me for

Queer Zagreb, youZagreb, Queer related oaiis f uens. Otherwise queerness. of modalities

who

for for see themselves to themselves see

inition by showing the “interconnectedness” at work in work at “interconnectedness” the showing by inition question about the nature of art in general. the natureForart about inGabe, of it question art this capa this e o ve tu at hud nov ti “expa this involve should art true l strange that it is queer. is it strangethat

F to be “ be to or her, queer art does not necessarily have to deal queerdoes art necessarily not todeal have or her, 225 . That’s fine for me, that’s great. I love it when it love I great. that’s me, for fine That’s . tie h o,t epn, o rearrange to expand, to box, the utside h fae of frame the

many other art festivals in Zagreb. She starts She Zagreb. in festivals art other many city of art to question to art of city can find some art which is really is whichart some find can queer estival for for estival -

“all art should be queer” be should art “all view of of view ”, take p take

is a rounded whole, taking into into taking whole, rounded a is it

has to “ to has would festival queer a art in queer festival community festival queer in art what makes art queer: art makes what its

And maybe maybe And at yas She years. 6 last I ol pt t under it put would I , for

ce th ce and dissolve various dissolve and –

shifting you a you shifting e brain to move move to brain e it :

do “ nd(i In principle, principle, In es -

normative normative like that like

g” and ng)”

was also also was whether not have have not make .

(Gabe bit, bit,

it it – ,

CEU eTD Collection imagination” a and paintings, her in desire lesbian and bodies m still Ana collaborationwith countryside” women between distills my of other many in general, queerwhat mean would and intheir means

akes a distinction betwee distinction a akes

involved more practical but practical more involved kissing, and thatis old quite someth am those I crosses that that anything realized or woman, a as dressed man a or man a as dressed woman a but sexual, explicitly be to have doesn’t It queer. painting.W one (laughter). A new, art queer me, For be queerat be allto queer exampl for queer, be to gay be to have not doesperson a So, doing? is he whatfrom artist youan separate canhow again But queer. being without art queer doing be may somebody and artist, queer Circus New of Festival the at Eurokaz the s all at that be to have bisexua lesbian, homosexual, ourselves art queer glance, first At naked man in high heels with a trombone on his on trombone a with heels high in man naked que my Maybe eea oigy imse te ser the dismisses jokingly Helena abo thinking artists, themselves are who informants my of those For h cmlctd rvctvns o hr anig t hr neet n showing in interest her to paintings her of provocativeness complicated the

. S awy tik ny bu the about only think always I anig o paig with playing or paintings n ‘eod y mgnto’ (Sic. imagination’ my ‘beyond ing he . – h explicit The does see does

interlocutors

performances step away from the norm. The same with the performances the with same The norm. the from away step performances s I s queerness as the widest possible framework. Queer art is the art of of art the is art Queer framework. possible widest the as queerness er is a bit a is er go on, hen it comes to queer, something has to happen (in happen to has queer,something to comes it hen Opalić

s w women two is so old

her work as queer art, with certainworkart, make:her to as qualifications queer ince queer art is all that moves away fro away moves that all is art queer ince there are more are more there

challenge

n her “old her n es f lesbi of ness

- who are who less queer than that than queer less , to put it like that it , toput school already minorities sexual with connected anything is

e. And I think that some performances also do not have to have not do also performances some that think I And e. still quite nuanced responses to nuancedresponses quite still ! So it is all terribly interconnected all is it So ! l and transsexual artists. O artists. transsexual and l - fashio d

edr non gender She practices. and politics its with involved deeply kissing oses novd in involved iousness - of heteronormativity fashioned” e we i cms o ht Q that. to comes it when ned and more women. women. more and number 226 n eie in desire an own own .

(Helena 2010, 6) (Helena Weee I thi I Whenever . certain queer approach that is “beyond (her) (her) “beyond is that approach queer certain

(laughter) ). I am still holding on to two women women two to on holding still am I ). art work. Helena explains laughingly:art work.explains Helena

of Queer Zagreb that put the poster of a of poster the put that Zagreb Queer of - f oe ta wl b o be will that women of

omtvt i hr “Lezzbe” her in normativity insistence on the presence of women’s women’s of presence the on insistence head. But still it is it still But head. eea Janečić’s Helena .

(Ivana 2010,6)

the Croatian art Croatian the At the moment At the eiig ue art queer defining onais f normativity. of boundaries n the other hand, other the n

what would be queer in art art in queer be would what wn t d something do to want I m the norms. But, norms. the m –

somebody may be a be maysomebody the painting) that is painting)that the just just ut what queer art art queer what ut

ueer

, Ihave, . However, she she However, . te painting the n – “Love in the the in “Love that

let’s not kid not let’s

smlr to similar , it represents

my queer queer my series in in series do

nine es not es desire

also

on – I

CEU eTD Collection in 2012. curator, and designer programming in interest my choic of Because Festival. the of program director entertainment program Festival the the was wasZvonimir while Karla coordinator; Festival; the for tasks organizational practical of charge in was 57 epitomizing F Zagreb the to performances Hoghe. Raimund by directed ”different thestereotypical visuality” beyond 7) 2010, (Zvonimir c context that me to seems it why That’s is. it how simply That’s else. somewhere queer not is here queer is that something So, geography. on depends a talking through it the of director context local the in

I had interviewed four members of the larger organizational team behind the behind team organizational larger the of members four interviewed had I a s through a through s es, I often focus either on Karla's or on Zvonimir's interview. I also interviewed Andre, the Festival poster poster Festival the Andre, interviewed also I interview. Zvonimir's on or Karla's on either focus often I es, queer bu cha espec c become has which identities, various and causes simply it since much that like don’t I level. primitive most a on queer arts visual through done easily most is This W remainingIenough that so am at of still that ( w that something their from different is The example Zvonimir example The to addition In

il e visible). be will programming, programming, bout a i smhw las mgnd s ue at s some is art queer as imagined always somehow is hat g hpes n or ed Y head. your in happens nge

st a ially ially the ue at h lns h at ih i with art the links he art, queer

Queer Zagreb Festival Zagreb Queer queer festival since 2003. He 2003. since festival queer t it has this moment, this feeling moment,this hasthis t it inside royig f ue identity. queer of ereotyping

ue Zagreb Queer when it comes to theater. As theater. to comes it when is the is H ge o to on goes He .

artists, writing as maybe happening in thoughts of many lesbians but never came out out came never but lesbians many of thoughts in happening maybe as

M festival organizers festival qer s ey uh bu sf eoi. tik e o’ have don’t we think I erotic. soft about much very is queer y the estiv

. M s. mentions mentions about

group that is deeply involved with queer art and its meanings its and art queer with involved deeply is that group amn Hge a rtre four returned had Hoghe Raimund eso o qer art queer of version al, and his work is recognized is work his and al, ye wl nt hc s mc wt m mtvs but motives, my with much so shock not will I aybe

“post had argue that that argue u r raig bo wih ab i nt vn so even not is maybe which book a reading are ou as his as in a waya in - 57 socialist queer” socialist : 227

. T . also actively conceptualized its local variations local its conceptualized actively also

ommon preferred form of queer art art queer of form preferred

’ tlig bu ta paig rud wit around playing that about talking I’m when you are reading a book and some little some and book a reading are you when s geographies: ts hrough programming hrough

h F the .

brought “ brought ( – Ibid.

- .

place. place. treat often that films and photography ( – Ibid. sia seiiiy osss n some in consists specificity estival

) die b sm spectat some by admired

and and ) queer art queer I prefer something more subtle, subtle, more something prefer I

ets ue o tks t apart” it takes or queer reates

on the Zagreb queer scene as scene queer Zagreb the on “ post

somehow I think this term term this think I somehow Queer Zagreb Festival Zagreb Queer id f ifrn visuality different of kind - , Zvonimir , Yugoslav ” to Croatia by Croatia to ”

ie wt differ with times is

the

, the , queer dance p dance . Tomislav Tomislav . ors, and and ors,

inflation program framing framing . When When . ieces ieces ent h .

CEU eTD Collection the Festival, the at art queer in playfulness and seriousness both of F ( “ F sensibility queer who people of number larger a of sensibilities satisfy that choices programming making also involves that “preferred” region. festival T organizers. festival artists, queer for meaningful politically and artistically as read is queerness the in out played quee “subtle” “ Zvonimir’s and normativity, represent criticized Ibid. projects are not are projects estival commu estival work art for opts often estival festivals r :8) In this section this In the tried to dec a classic H This distinction between distinction This

Zvonimir ny point on the stage. Y stage. the on point ny etf to testify but theyattract the approach to non to approach is ingart: ofqueer hisunderstanding by others by

onstruction is very queer. T queer. very is onstruction pure information literal of transfer

(Hoghe’s) kind of queer art, and a certain responsibility toward the Zagreb queer Zagreb the toward responsibilitycertain a and art, queer of kind may al male al Is motne s n ref in is importance Its . – nity. From critical voices that see that voices critical From nity.

. This is the reason that Zvonimir that reason the is This . some kind as dear to my heart personally” because they “ they because personally” heart my to dear as

prefer a different approach to queerness than the high art contemporary contemporary art high the than queerness to approach different a prefer different ie a itrsig nih it te rcs o ch of process the into insight interesting an gives . Zvon . GT omnte o ti region this of communities LGBT -

we have seen the emic understandings of queer of understandings emic the seen have we female dance. Y dance. female he he “ Bolero - rgamn ad oiia choices political and programming imir normativity in art constitute a constant dil constant a constitute art in normativity

of subtle (queerness).of subtle viewers approaches to visibility politics politics visibility to approaches

” explains his interest and choice of Raimund Hoghe’s work Hoghe’s Raimund of choice and interest his explains rfre queer” preferred h : s ou don’t have two man dancing together either. Simply either. together dancing man two have don’t ou the more obvious artistic play with gender and se and gender with play artistic obvious more the

that cm hr wt this with here came e

from the queer communfrom the queer , ou don’t have a woman and a man danc man a and woman a have don’t ou his is his

s e us it puts he as etn te tt o Gmo’ “ue dilemma” “queer Gamson’s of state the lecting

how I see queer, and how and queer, see I how . 228

( Ibid.

hc lean which I art that think queer art as elitist as art queer

as the prog the as )

“uls p hs ue identity” queer this up “builds , –

n nomn u o wa kn of kind what on us informing in hw n hc h to aat the apart took he which in show ity. mr twr avant toward more s rammin n qer iult wti the within visuality queer and

pl that must bemust so

ay the first ball of visuality” of ball first the ay

to enthusiastic perception enthusiastic to emma for post for emma hne rm etvl to festival from change intensity ness g director of the Zagreb the of director g the oig ewe his between oosing

in art in mething than more Queer Zagreb has Zagreb Queer

of negotiations negotiations of ing together at together ing in viewers and and viewers

community - the Zagreb the - garde and and garde xual non xual Yugoslav –

these these ,

this this

as as -

CEU eTD Collection go on. Festival Zagreb aware be to out turned in quality this found not have viewers art. in subversiveness gender and sexual of meanings the partic other of those and works own their which sexuality. and gender art and boundaries the negotiating of processes the into insight an with us provide they art, queer of meanings exact and sexuality g to relation in normativity question should and does art how of discussions theoretical to ways profound in relates also It arts. in queerness to contributions regional and unde interviewees’ my explanations. interlocutors’ my of feature important most the as emerges enderedness. is to transgress to is

hl nihr r ter nor theory art neither While

had opened cultural opened had

the norms and norms the mutual h atss xrse i itriw ciia aaees f h wy in ways the of awareness critical interviews in expressed artists The rstanding

of nego of implications of art of implications tiating programmatic compromises. Nevertheless, the Nevertheless, compromises. programmatic tiating s

must challenge must of “queer art” “queer of

space for queer art in Croatia in art queer for space

ah r wr a te Festival the at work art each 229 the and

F exposes the contested meaning of meaning contested the exposes ipating artists engage in the negotiations of negotiations the in engage artists ipating the stereotypical perceptions in the fields of fields the in perceptions stereotypical the

sia priiat mng t are upon agree to manage participants estival life. According to my my to According t s paet ht h Festival the that apparent is It

and its negotiations are to to are negotiations its and

hl te organizers the while interviewees The

complexity

the local local the , queer queer , Queer Queer o f

CEU eTD Collection (2006) “deviant” 135) trajectories” 2008, Tsianos “optic and Stephenson, as (Papadopoulos, conceptualized been have subjectivities” “escaping politics of strategy the and politics visibility through brings a multiplicity forth of strategies that 66) 2008, Tsianos and Stephenson, new speech, of figures “ time same the at but representation” “resist that figures escape escapefrom normativity consideri enables futu queer “desirably it tendency (2004) turn” A major (Halberstam 2011, 110) 2011, (Halberstam . is ,

has “straightening termed devic ” representation positive toward move the both disposition, differential their Regardless Post

queer re queer

debate

ng encounter att encounter Creating Creating

to reinvest into imag into reinvest to trajectories back into line, in alignment with normativity, with alignment in line, into back trajectories eesrl trig wy from away turning necessarily

- Yugoslav q Yugoslav the

in the field of queer theory is queertheoryof field the in - viewers’ viewers’ conceptual “ pcltv figurations speculative empts at control and closure along the w the along closure and control at empts ueer festivals can be argued to argued be can festivals ueer res” .

uses un o hsoia possibility” historical of turns izations of time and space. and time of izations (

Ibid. in ining possible queer futurities, queer possible ining of

the last decade. While While decade. last the :38) queer .

This fascination with the political effects of visual images images visual of effectspolitical the with fascination This C This . ONCLUSIONS es”

visuality

(

” both engage withandrefute visibility politics. Ibid.

oe oeu future hopeful some ees o h poess f imag of processes the to refers 230 debate debate concerned with concerned

queering visuality that enables that visuality queering :23)

a hl u imagine us help may . makes a difference for my project as it it as project my for difference a makes

On the basis of my research my of basis the On Th . create the create queerness

erupt in powerful new tropes, new new tropes, new powerful in erupt ese mechanisms of bringing the the bringing of mechanisms ese

the reworking of the “anti the reworkingof the or as Donald E. Hall E. Donald as or ay. The workings of capture of of capture of workings The ay. Hrwy n Papadopoulos, in (Haraway tee s rece a is there , figuration ,

according to according recall what Sara Ahmed Sara what recall

a poss

of visuality as an as visuality of ining alternative alternative ining

“ ible future of of future ible imperceptible Lee

f control of , I suggest, I , (2009) Edelman counter - social social

put -

CEU eTD Collection the of property inherent the as seen not therefore is art of queerness the consideration, into “seeable” the of configurations politics looking T culture. and art of domains the and activism political between in spaces dil identity the queering in engage heterosexism escaping routes political and artistic of maps beyond. territory the queer communities looked I that extent the territory the with o duration the than more for in place take they cities the occupy not do festivals Queer societies. their of spaces public in practices “ conflict religio post negotiating in work queerness. at belonging of categories complicated the rework memb community artists, belonging post in widely to mobilize seem strategies visual the nation a to belonging of institutions and discourses very the ertr“ acrig o aka Sassen Saskia to according territory“, s identit us ” t years recent In maj the of One

world making. , for escape through escape for The The

Se lo me 08 Ms 2004) Moss 2008; Imre also (See and (Imre 2008; Renkin 2009) Renkin 2008; (Imre hi “manifestos” Their “new”

nae n eoitn te em o hgmnc iiiiy a visibility hegemonic of terms the negotiating in engage - socialist countries as a strategy chosen by queer communities for queering queering for communities queer by chosen strategy a as countries socialist e, iiaiain Bla msuiiis te otx o transition of context the masculinities, Balkan militarization, ies, - mak mode of mode or optic trajectoriesor optic or ing practices of contemporary protestors protestors contemporary of practices ing

he protestors of the Occupy movemen Occupy the of protestors he

t o the how at ers) themselves use intersectional terms and tactics to relate and and relate to tactics and terms intersectional use themselves ers) Papandopoulos, Stephenson and Tsianos’ (2008) (2008) Tsianos’ and Stephenson Papandopoulos, queer visibility at the post the at visibility queer

and programs speak of queerness in relation to ethnic and and ethnic to relation in queerness of speak programs and in the post the in

of ma s el s ersnain hog negotiati through representation as well as emma

. My research shows that queer festival people festival queer that shows research My . f the festival week. However, here I here However, week. festival the f post viewing

- (2012) Yugoslav - Yugoslav space Yugoslav The . straightening devices straightening 231

n community and ,

n materialized and queering

citi es - Yugoslav queer festivals draw festivals queer Yugoslav t h tm o ter uain and duration their of time the at . .

of Taking the fluidity of queerness of fluidity the Taking The strategies of que of strategies The ts have reshaped the limits of limits the reshaped have ts - ainls hs en noticed been has nationalism making practices of of practices making in the Occupy movement to to movement Occupy the in

is ironically created around around ironically created is

sbesv community subversive a pursue d imagi nd hey seem to be be to seem hey “ imperceptible d

the parallel the er festivals er

ning new new ning (activists, n post and Yugoslav Yugoslav festival festival ng the the ng s

new new -

CEU eTD Collection question that works art of display public for beyond, and goals political of the carnivalesque. t and space festival queer the experiencing F Zagreb non and subversion situated of sites to open as time the theorizing for argued I itself. Europe Eastern South or Balkans Western the of region the specifically, approaches art the displaying artpub queer inthe and circumstances, local in queerness of anchoring the is festivals these of each of strategies the to common is What Macedonia. in queerness imagination. The Festival multi metropolitan a of dream Festival Belgrade Queer borders national across trajectories along (hetero)normativity from escape of negotiation cultural of processes complex geograp symbolic different the occurs at of the interstices ar tist or the formal the or tist The p The t In queerness regional of terms In

works works estiva fl his rd p n wn dw wt te F the with down went and up ared tested ost , are all engaged in engaged all are , dissertation l n fsia crntps of chronotopes festival and - at Yugoslav queer festivals, despite festivals, queer Yugoslav Queer Square Skopje Queer

h faiiiy f ueig h gorpia cnet f h rgo, more region, the of concept geographical the queering of feasibility the the the - characteristic of the art work art the of characteristic space of the regional queerness of post of queerness regional the of space

center ,

, I , reinvented the socialist utopia of a common country for queers. The The queers. for country common a of utopia socialist the reinvented sites ofproduction,

analyzed

of this research this of - lic space. cultural city of Sarajevo as desired by the first first the by desired as Sarajevo of city cultural hies the of

practices of claiming the space of their cities, cou cities, their of space the claiming of practices , different post different individual post individual , briefly but significantly, questioned thein/visibility significantly, of but questioned , briefly the key concept of this project this of concept key the

. “ ime as an invitation to participate in the pleasures the in participate to invitation an as ime Queeroslavia 232

was explored to probe the political potential of potential political the probe to explored was exhibition/performance and perceexhibition/performanceand th - normativity. The The normativity. , nor that of the audience but, if it happens, it it happens, it if but, audience the of that nor ,

e sia’ coue bt co but closure, estival’s their Queer - Yugoslav queer festivals with a focus a with festivals queer Yugoslav - Yugoslav queer festivals queer Yugoslav

h srtg o tsig h lmt of limits the testing of strategy the ”, the concept the ”, significant differences in artisti in differences significant

sexual and gender normativity. The The normativity. gender and sexual Zagreb - Yugoslav que Yugoslav particular

Festival

, I argued that argued I , constructed around the around constructed er cultural festivals festivals cultural er

. The theoretical theoretical The . heterotopia tne t incite to ntinued Queer Sarajevo Sarajevo Queer

ption is involved in involved is

that drives drives that .

each of of each of the the of ntries and c on CEU eTD Collection ha other post the of dynamics nationalistic and patriarchal i manifestos these in defined are art” “queer and “queerness” regional discriminatory of forms multiple of intersection the at “queerness” regional and local the locate manifestos t that argued I presentation. organizers’ festival the of workings ten the of analysis insight ethnographic the weaving in consisted has chal The actors. its by use in space and time festival relation artistic and to curatorial strategies. of practices the with associated politics visual queer to times, visuality queer that time social of rest the to festival time of inseparability the concept each of nuances particular out bring c qu of visuality strategies the between oscillate actors other and organizers have I sociability. queer of spaces festival free temporary o onstant shifting in between three conceptual u conceptual three between in shifting onstant eig p f etvl chronotop festival of up pening organizers’ aspirations in positioning their festival in a particular way; chronotopes way; particular a in festival their positioning in aspirations organizers’

subversion The ethnography of the the of ethnography The nd, these manifestos engage in the in engage manifestos these nd, ad h srtge o cetn qer identificati queer creating of strategies the and ,

rcie a wr in work at practices of heteronormative representation. Accordingly, I analyzed analyzed I Accordingly, representation. heteronormative of

can be said to sometimes ask for ask sometimes to said be can er o te arb etvl “manifestos” festival Zagreb the of years - pc i festi in space LB vsblt pltc, and politics, visibility LGBT : he principle “manifesto” strategy is twofold. On the one hand, one the On twofold. is strategy “manifesto” principle he Queer Zagreb F Zagreb Queer - space. the es es a eprec, n heterotopia and experience, val the que

to The discussions The taeis n osrcig etvls eta self textual festival’s constructing in strategies otmoay post contemporary

r etvl, n aaye is mlmnain in implementation its analyzed and festivals, er

non paradoxical albeit creative task of unearthing the the unearthing of task creative albeit paradoxical - 233 practice combination: symbolic geographies symbolic combination: practice nderstandings of time of nderstandings - omtv visuality normative estival

- war, transitional machoist society. On t On society. machoist transitional war, s together with theoretical theoretical with together s lenge of lenge

rights

has has

in the f the in n ad iul ersnain The representation. visual and ons argu offered ueig visuality queering

- and the partic the uolv reality. Yugoslav ed that ed ield of v of ield

representation, and representation, provided provided

a view a

space has allowed me to to me allowed has space

– simultaneously creates creates simultaneously the the ular ular

eig eogn and belonging eering of isual studies suggest studies isual opsto to opposition n practices of festival festival of practices

the analytical into this particular this into n uln o the of outline an two approaches two . q eain of relation

etos The uestions. Croatian and and Croatian h lte I latter The ,

chapters at other at –

– the the the

he he of of of -

CEU eTD Collection of refiguration homoerotic to practices, artistic and sexual radical and body queer a of normativ gender and sexual of deconstruction from image poster event the promoting seven remaining social the on years, later three “seeable” and as well F cultureZagrebQueer turned the the into ten last the tran strategies these Together, legitimization. simultaneously of ofartexchange”diverse formsa from space multitude co of se art; queer as art contemporary the is focused a identified elsewhere, nurturing production its and audiences. assembling its allegedl was that queerness local

estival subversive visuality, and and visuality, subversive slating F slating oe explicitly more The v The F Zagreb Queer In to

s on three organizational strategies organizational three on

testified to testified a gradual path this visuality traversed from from visuality traversed this gradualpath a the to its audiences but not immediately intelligible to the wider public in its its in public wider the to intelligible immediately not but audiences its to t

e nlss f h pormig taeis of strategies programming the of analysis he years: its daring strategies of queering queering of strategies daring its years: estival mission into an into mission estival

isual analysis of analysis isual as well as commitment to the politics of que of politics the to commitment

years of the F the yearsof

. The strategies through which this queering this which through strategies The . “cultivating”

a that represented that visually queer image. While the Queer Zagreb poster poster Zagreb Queer the While image. queer visually variety of strategi of variety estival the the the recognition

estival,

spatial conquest of central mainstream central of conquest spatial organizers’

ten aray hr wie motn and importing while there already y one’s audience while relying on it for support and and support for it on relying while audience one’s od s h fntoig of functioning the is cond artistic program in a dynamic field of field dynamic a in program artistic

posters the non the the same poster designer created designer poster same the hub es that went into creating the creating into went that es

have

as most characteristic of the F the characteristicof most as of queer art queer of

of regional of queernessperiod. this in 234 noaie hie f rgamn prestigious programming of choice innovative

corresponding to each to corresponding -

normativity in art through the queering of queering the through art in normativity provide er infection of the mainstream; the of infection er

both the both ity, vis ity, the and visuality visuality and d

an insight into complex processes of processes complex into insight an symbolic toward symbolictoward ual disidentification, aesthetiz disidentification, ual mainstream and and mainstream ntexts the

h F the

was , and the third isthestrategythird , and the ue Zge F Zagreb Queer had had

approached we approached sia a te “border the as estival

cultural cultural

F estival’s polit estival’s images the change estival’s visuality, as as visuality, estival’s transporting it from from it transporting

“regional queer” of queer” “regional a ten the more provocative provocative more

venu d the for the posters the for Queer Zagreb Queer LGBT art and and art LGBT . I . mgs were images

n creation of creation es. I have have I es. estival six of six re many: many: re ics. Firstics. initial ation the the the I , -

CEU eTD Collection other and Zagreb the at seen h they works art concrete of basis the on art queer understanding and defining approached my of all which through process festivals.these at arts in circuit. festival in community queer regional and local of terms the on renegotiated are queerness of meanings the where chronotopes subversive potentially through fashionablelabeling. Karla p they what between opposition 9) art queer” programming in daily them facing dilemma strategic to approaches commercialized the perceived art queer what defining of strategies nuanced various to expression a art queer of understanding F and viewers artists, viewers tofully inorder appreciate postrelevance its for F However beginnings. and ends signifying finally, and queerness, embodied with play symbolic art, Christian estival’s ,

or differences

, a Festival organizer, Festival a , opting for for opting n hs israin I dissertation, this In a The

queer in queer visuality needs to be read in its social context and through the eyes and eyes the through and context social its in read be to needs visuality and visuality preferred by m by preferred visuality and ayi o the of nalysis One part of these negotiations concern negotiations these of part One

more between between the

estival volunteers estival complex art The m The - works

called “big Q art” Q “big called artistic the nd culture at the at culture nd neves ih my with interviews

ost interesting finding of my research my of interestingfinding ost

argue en as art queer queer art c art queer (not only only (not te ihes n pltcl eeac o the of relevance political and richness the ,

erceived as somehow authentic and real queer art, and what what and art, queer real and authentic somehow as erceived shown at the Zag the at shown d interlocutors

ost of the local queer community queer local the of ost ht h p the that –

ontent has given has post works 235 - Queer Zagreb F Zagreb Queer tertainment. The tertainment.

Yugoslav (Karla 2010, 10) 2010, (Karla . Some of my of Some . dialogue

par , reb F reb twenty ost dedicated to diversity as opposed to to opposed as diversity to dedicated

insight - s uolv ue fsias ucin as function festivals queer Yugoslav ticularly artists and festival viewers, viewers, festival and artists ticularly

estival. The a The estival. ngtaig h ne for need the negotiating : the meanings and effects of queerness queerness of effects and meanings the - ) Yugoslav queer politics. Yugoslav queerpolitics.

with the broader internatio broader the with Zagreb ue at festivals art queer

into the “festival people’s” “festival the into interlocutors estival organizers problematized the the problematized organizers

that looks for easy prestige prestige easy for looks that interlocutors rtists to me is me to

. My . a be may

(Zvonimir 2010, 8 2010, (Zvonimir mostly

interviewees also postulated an an postulated also

the clarity of the claritythe the of . The emerging emerging The .

n what and

Quee the F the –

talked about about talked

or “direct uses nal queer queer nal Zagreb r ganizers, estival’s estival’s

of its of emic emic gave they (ly) ave ave –

CEU eTD Collection festival left duration. long of event traditional a becoming in invested and ambitiousness post of politics organizational the that art andculture lesbian organized be to continues that festival longstanding the and festivals film the are remain cycle organizational its of end festivals the as such closed peremptorily been - post escapearound providing is, that it what but represents, art queer what of not importance the is art queer of which time festival the to as well as witnessed they works art queer particular and resistant as art queer of definitions

was indeed indeed was

- some Yugoslav queer art festivals art queer Yugoslav they

ial, w Finally, people involved traces encountered those works those encountered a particular

peak of imperceptible acts of escape of acts imperceptible of

a i 20 we I tre ti rsac see as seemed research this started I when 2007 in hat complex complex wel . Now in 2014 in Now . etvl of Festival L’art Pour l’Action Pour L’art l

- and art funded works ways in –

their sense ofbelonging , the

s n h cs o the of case the in as as

–

a ad eba Film Lesbian and Gay f oiblt, questioning sociability, of at

, the wave is e is wave the ,

with festivals in Sarajevo, Belgrade, Zagreb and Ljubljana and Zagreb Belgrade, Sarajevo, in festivals with Merlinka International Queer Film Festival Film Queer International Merlinka s h cs with case the is . Moreover, what emerges what Moreover, . a nd beyond - occasiona uolv etvl, vn hn rmsd n artistic on premised when even festivals, Yugoslav

in Novi Sad, Serbia. NoviSad, in subversive 236

in Sarajevo and Belg and Sarajevo in

the queerfestivals.the lly on the walls the on bbing

is the low the is

h Zge F Zagreb the . artistic practice are tightly bound to to bound tightly are practice artistic

ue Zagreb Queer –

n jbjn. h ol LB arts LGBT only The Ljubljana. in What they What all of the arts festivals have either either have festivals arts the of all omtvt wie mrig as emerging while normativity and in memories of the queer the of memories in and Retrospectively, it seems clear clear seemsRetrospectively, it -

budget, grassroots festival of of festival grassroots budget, from sia. h fsias that festivals The estival.

rade, or have or rade,

h these these ad done, however, has has however, done, ad

a Festival full is perceived to do: do: to perceived is emic negotiations negotiations emic n space and - blown wave of of wave blown were ,

in Belgrade, in

reached the the reached

within within never never

CEU eTD Collection Baldo,Italian 2008.“Queer Michela. in ——— ——— Bakhtin, 1982 Mikhail. GarryBagnall, MilesOgborn. Crawford, Greg Gaynor, and Smith, 2008. Augé, Marc. 1995. ZiAufderheide, Pat,and Debra Atluri, TaraL. 2001. Aronson, Arno Appadurai, 2006.“Disjunction and Difference.” Arjun. In “LaAnzaldúa, Towards Gloria.InLa a 2002.deConsciousness.” Conciencia Mestiza: New Alcoff,Linda. 2006. ——— Ahmed, Sara. 2004. Adusei - Filmmaking.” Indies. inthe CommonwealthNationalism Caribbean Ashcroft,Bill etal 468 (eds.), London: Routledge. Fem . 2006. Geschlechterdispositionen InImaginary.” of SocialScience Bloomington:Indiana University Press. . 1984b Emerson. . 1984a Texas Press. TranslaHolquist. Studies Cultural YorkLondon: and Verso. Chicago: Chicago UniversityPress. of Poku, Nana. 2010. “White Issues. Nana. “White Poku, 2010. inist Theory Reader:Perspectivesinist Local andGlobal

ld. 2000. Queer Phenomenology

(1963) (1965) Minneapolis:Press. University Minnesota of Non

The Cultural Politics EmotionCultural of The Visible Identities Visible When Homophobia, and theClosetHeterosexism IsaRegion: Signs: Journal of Women of Journal andSocietySigns: inCulture . . Perspektive,Macht Medium,

Problems of Dostoevsky’s Poetics ofDostoevsky’s Problems Rabelais and His World andHis Rabelais - . London: Pearson Education. (1975) Places: Anthropology ofSupermodernity Introduction toan American Avant

ted by Carylted by and Michael Emerson Holquist. 5 (2): 35 5 (2):

. mmerman. 2004. “From A to Z:mmerman. 2004.“FromonWomen’s A toAConversation The Dialogic Imagination: FourEssays The Dialogic Imagination:

– , 175 62. REFERENCES – . Durham and London: . Durhamand University Duke Press. . Oxford: Oxford University Oxford . Oxford: Press.

473. New York: Routledge. – - 197. North American Women Writers.” North Writers.” American Women - Garde Theatre ItalianVogue’ Würzburg: KönigshausenNeumann. & 237

. Translated by Helene Iswolsky.Translated by Helene

: Zur Kulturellen Codierung Neuzeitlicher Codierung Kulturellen : Zur . New York and L . Newand York

. Cave University the Hill: West of . New York:. New Routledge. : s ‘All Black’ IssueBlack’ ands ‘AlltheVisual .

The Post The Edited and by translated Caryl

, 179

- Colonial Studies Reader Studies Colonial – Austin: UniversityAustin: of 188. New York and York 188. New

30 (1): 1455 30 (1): ondon: Routledge.ondon: .

Edited Introducing Introducing Graduate Journal

by Michael

– . New

1472.

, CEU eTD Collection Broadhurst, Susan.1999. Brennan, Jay.and Teresa, Martin 1996. Braidotti, 1994. Rosi. Bourdieu, Pierre.1984 Bosanac,“ Gordan.2006. InBoellstorff,Queer“Queer TwoThesesonMethodologyand Techne: Studies.” Tom.2010. Lauren,Berlant, andIn Elizabeth“Queer Freeman. Nationality.” 1993. Benshoff, Harry M.,an Bell, 2000. Binnie. David, andJon Becker, “ArtIn Howard asCollective S.2003. Action.” forSite Basquin,Bill. Queer 2008.“A Reproduction.” Barthes, 1980 Roland. Barndt, 2006. Deborah. andBarnard, Jonathan Spencer. 1996. J., Alan Galasinski. 2001. Barker, Chris, andDariusz Banes, 1998. Sally. Balogh,Narcisz Andrea andFejes. P., 2013. Minneso Planet: Social QueerTheory and Politics London: Routledge. (ed.), 84 Studies Howard. Anthropology Dialogue onLanguageandIdentity Intellect,Bristol:Limited. and Theory Perspectives onSight Translated Nice. by Richard Zagreb,Studies/Queer October 26 Unutar HrvatskogPoziciju Obrazovnog Sustava?)” (PoqueereniCroatianIma Zašto Educational Queer Sustav: Teorija System? Queer Research Queer IntersectingQueer andMethodologies: Science Methods TheoriesandSocial

14 (1) (Janua – ta Press. , 215 HillandWang. York: New 96. New York and London:and York 96. New Routledge. . New York and London:International . New and York Group. Continuum Publishing Subversive Expectations . Westport: . Westport: ABC – Nomadic Subjects .

230. London:Ltd. Ashgate Publishing,230. d Sean Griffin.d 2004. (1979) Camera onPhotography Lucida:Reflections Wild Fire: Activis Artas

Liminal Acts: ACritical Liminal Overview Per Contemporary of QueerQueered Is within a Why System: Queer TheoryPosition in

ry 1): 122 ry 1): . New York and London:and York . New Routledge. . Distinction: A Social Critique oftheJudgement ASocialDistinction: Critique Taste of

The Sexual Citizen London and University Cambridge: Harvard Press. - – CLIO. 124. Vision in Context: and Contemporary Historical in Vision . New York: Columbia University Columbia York: New Press. . www.iro.hr/userdocs/File/pno2006/8_bosanac.ppt. . London:. SAGE.

. Ann Arbor: Press. University. Ann ofMichigan Queer Visibility in Queer Visibility Queer Cinéma: TheFilm Reader Queer 238

Cultural Studies andDiscourse Analysis:A Encyclopedia of Social and Cultural Cultural Encyclopedia ofSocialand m , 193

. Toronto: Sumach Press. – . Oxford: Wiley . Oxford: GLQ: A Journal of Lesbian andGayLesbian GLQ: AJournal of 229. Minneapolis: University of

The Sociology ofArt Presented

Post

- .

Socialist Cultures atfor the Center Peace Translated by Richard - Blackwell. Fear of aQueer of Fear

, Tanner, Jeremy . New and York

formance .

CEU eTD Collection Diani, Mario. Concept 1991.“The ofSocial Movement.” Deleuze, Gilles Deleuze, Guattari. Gilles,2004 and Félix Zorana,Đaković, Petrović.Novica 2004. and 1994.“Rebels, Joanne. Cubbs, and The Artist Outsider.”In Mystics,Romantic Outcasts: Crespi Intersectionality,Crenshaw, “Mapping theMargins: Identity Kimberle. 2003. and Politics, Crang,Ian and 2007. Cook. Mike, Patricia Hill. 1998.Collins, Ching, Barbara, A. Wagner and Jennifer Chaney,David 1994. C. Certeau, 2011 Michel de. 2011. Butler, Judith. Buechler, Steven M.1990. Buden,BirgitBoris, andStefan Mennel, 2011.“European Nowotny. The Cultural Policies: Nash.Browne, 2010. J. Kath, andCatherine Brocka,“AFull People.” Q.Allan. Theater ofQueer 2008. - Vallbona,2007. “THEOF Montserrat,MEANING andGregCULTURAL Richards. Nationality Violence Minneapolis: Universityo UniversityYork: Columbia Press. History Rendall. & Francis. andBeyondRights, PerspectiveInHeterolinguality”. of European Queer Science TheoriesandSocial Research Gay Studies and Internationa Schizophrenia Contemporary Art InstitutionSmithsonian Press. Outsider: CreativityArtist andtheBoundaries Culture of FESTIVALS.” Barbara Habberjam . Routledge.

and Parnet. Claire 2007 Berkely:University California Press. of against

, Alcoff,Linda et al(

l Publishing Group. l Publishing 14 (1) 1):124 (January Bodies That Matter:Bodies On That theDiscursive Limi . International Journal of Cultural PolicyInternational Journal ofCultural Translated byBrian Massumi.

The Cultural Turn: Scene Turn: The Cultural Women of Color.” In ofWomen Color.”

. Belgrade: centar Beograda. Kulturni (1984) . New Brunswick:. New Rutgers University Press.

Women’sWoman the United Movements in States:Suffrage,Equal Fighting Words: Fighting Women Black forJustice Search andthe . . Columbia UniversityColumbia Press. f Minnesota Press. The Practice of EverydayThe Practice Life of Doing Ethnographies

Eds (1977) -

Lawlor.2009.

(1989) – ), 175 126. Queer Methods Intersecting andMethodologies: 239 Symbolic Identities: . Dialogues II Dialogues .

– A Thousand Plateaus A Thousand - 201. Oxford: Wiley Oxford: 201. Setting EssaysonContemporary Cul

. London:Ltd. Ashgate Publishing,. stitute for Progressive Cultural Policies. forstitute ProgressiveCultural New York and London: Continuum YorkLondon:New and Continuum

and Personal Geographies of and Personal of Geographies The Scandal SusanSontag of

. London:. SAGE.

Race, Gender, Class, and Sociological Review GLQ: A Journal of Lesbian and Lesbian of GLQ: AJournal

. Translated by HughTranslated by Tomlinson

. 13 (1) (February): 103 , 76 Translated by Steven ts of Sexts of – 93. Washington: - : Capitalism and : Capitalism

Blackwell. . New York: Taylor

40: 1

– 25. . New . – 1

tural tural 22. The

CEU eTD Collection Edgar, R.Sedgwick. Andrew, and Peter 2008. Lee.Edelman, 2004. Dyer, Richard.2002.“SeentoBeBelieved: theRepresentation Problems in ofGay Some Lisa.Duggan, Politics The 2002.“TheofNeoliberal New Sexual Homonormativity: Ducastel,and Jacques Olivier,Martineau. 2008.“Very Our Goodfor Morale.” Drapac, Vesna.2011.“YugoslavEast and Studies the Dobrović Dobrović Doane, “Aesthetics Ann.2004. Mary and Politics.” Djurković Djurić ——— ——— Dioli D ietze, Gabriele,ietze, HaschemiBeatr Elahe Yekani,Michaelis. and , Irene., Introduzione Agli toQueeroslavia. Queer 2008.“Welcome Studi Nel Territorio , Dubravka, and Miško Šuvaković. Šuvaković. , Dubravka, and Miško Discourse:Geography andIts SymbolicConsequences Croatia Society Persons inBosnia Q.Sarajevo. and Herzegovina”. Organisation Cambridge: MIT Press. Gardes, Neo Queeroslavia http://www.balcanicaucaso.org/eng/Regions . 2011.“Belgrade, Queeroslavia.” Forum andE . 2009.“Back NostalgicFuture: toa Queeroslav Utopia.” The Ex Jugoslavo.” Budrich. Als Interdependente Kategorie IntersektionalitaetBalances’:Zum von Verhaeltnis UndQueer Theorie.” Routledge. University Press. YorkLondon: and Routledge. InPeople as Typical.” et al( Democracy:Materializing Politics aRevitalized Toward Cultural andGayJournal ofLesbian Studies Lang. PeterOxford: , Zvonimir, GordanBosanac.2007 and , (eds.) Zvonimir. 2004.“Post, , Svetlana. 2008. “The Invisible Q? Human Rights Issues Human “TheInvisible Rights, Svetlana.LGBIT 2008. Q? and of Concerns Eds

30 (1): 1229 (Usmena Homoseksualnosti uHrvatskoj) Povijest

), 175

- - - Avant No Future: the Death Queer Drive and No Theory 92030. Journal forSexualities, Culture – eSamizdat 194. Durham: Duke University Press. 194. Durham:

Gardes, andPost Gardes, –

000. The

Socialist Queer.”Socialist

VI(2 Matter Essays Images: of onRepresentation

, Dietze Gabriele et al, Dietze Gabriele (eds),et 107 - 3): 77 2003. Osservatorio BalcaniECaucaso Osservatorio

14 (1) 1):133 (January - 240 Avant – Cultural Theory Cultural 81. Impossible Histories: A Historical

Cultural Studies ReviewCultural - - Signs: Journal of Women Journaland Signs: inCulture of Gardes in Yugoslavia, 1918 inYugoslavia, Gardes and s andPolitics - West Dichotomy.” In Dichotomy.”West . Oral HistoryofHomosexuality in - countries/Serbia/Belgrade

, 93 . New York and Lo. Newand York 2007. “‘Checks and . Zagreb:. Domino. – . – 127. New

. Durham: DukeDurham: . 134. Sextures –

139.

, Castronovo, Russ .

10 (1) (March). The East Leverkusen:

York andYork - , 19

GLQ: A A Virtual A Virtual - In 1991 ndon: ndon: vant – - Gender 49. New

ism.” Inism.” - . West -

CEU eTD Collection Hall, Donald E.2009. ——— ——— 1998.Halberstam, Judith. Graff,“Gender, Agnieszka. S 2009. Glazener, Nancy. theNovel 1989.“DialogicBakhtin, In andGertrude Subversion: Stein.” , Ine.Gevers,and 1998.“Avantgarde Strategies Curatoria Gans, Herbert. 2008. ——— Identity 1995.“Must Gamson, Joshua. Self Movements Fraser, Honneth. Nancy,Axel 2003. and ——— Foucault, Michel. 1980. Evans,“Border Owen.Film 2007.Exchanges:ofthe Festival.” European TheRole Evans,Lorraine Caroline, Gamman.“TheGaze and or Revisited, Reviewing 2006. Queer OntheEngel, Lack toQueer 2009.“How Images? Antke. ThingsFantasy with of in Ehrenreich, Barbara. 2007. Taste (RevisedTaste AndUpdated). Gay Film Fes . 1996.“TheIdentity: Shaping Organizational ofCollective Lesbian Case of The and Problems London: Verso. ReaderCulture . 2002 Books. StudiesContemporary European London: Routledge. Viewing.”In transcript Verlag. undGender Kunst Kultur, PerformativityImaginativenessand the ofDesire.” GrantaBooks. Studies . 2011. York: NYU Press. . 2005. Citizenships GenderedIn Aspects andNationalism.” Sexualized ofContemporaryPolish 2nd ed., 155 http://www.inegevers.net/?s=publications&id=204.

(1984)

. New York: and Taylor Francis. The ofFailure Queer Art In aQueer TimeandPlace: Lives Transgender Bodies,Subcultural

42 (3)390 (August): , Oleksy, H.(ed.),133 Elzbieta – . “Of Other. “Of Spaces.” 177. Manchester: Manchester University Press. York.” New tivals in A Queer Romance: Popular Culture andHighCulture: Culture An AnalysisandEvaluation Of Popular

Reading Sexualities:Reading Hermeneutic , (ed.) Nicolas, Mirzoeff 229

Power/knowledge

Female Masculin

Dancing in the Streets: ADancingJoy History theStreets: ofCollective in - Politiken exuality,Nation and

New York: Basic Books. York:New Basic – 407. . Durham: Duke University Press.

Lesbians, Gay Men andPopularCulture Men Gay Lesbians, 15 (1): 23. Redistribution or Recogn or Redistribution Translated by Miskowiec.Translated Jay . Sociological Forum Sociological , edited by Barbara Paul, 101 Edited by Go Edited Colin ity

241 . Durham: Duke University Press.

–

– 147. New& York: 147. Francis. Taylor 236. New York and London:Routledge.Newand York 236. - Destruct? AQueer Dilemma.”Destruct? l Interventions Today.”l

- Theory and the Future ofQueerTheory andtheFuture

Here Reflections and Now: onthe

In Meh

11 (2) (June):231 rdon. r(wert) queer: Visuelle queer: r(wert) ition?

New York: Pantheon New

– New York and In 133.

The Visual The Visual . London:. Bielefeld:

– , 62 261. . New Journal of Intimate –

89. Social

CEU eTD Collection Iord Imre, Nationalism.” Aniko.2008.“Lesbian Hvala, Tea Human of the Rights 2009.“TheViolations Rights Committee. Gaze:hooks, bell.2003.“TheOppositional In Black Female Spectators.” Heywood,Ian. 1997. ——— Hennessy, “Queer Rosemary. Visibility 1994. inCommodity Culture.” 2010. Christophe. Heintz, “Ethnographic andWritingIn Cognition Culture.” Haschemi Contextualizing 2008.“Where, Yekani, Elahe. How? Intersectionality.” and When Harvey,David. 2009. Harbord, 2002. Janet. Hanson, 1999. Ellis. ——— Hall, Stuart. 1992.“Encoding/decoding.” Hall, MichaelMetcalf.Eugene W. D.,and1994. Laura R., Hall, John and Grindstaff, Ming anova, Dina.anova, 2001. . 2000. 31 139 CurrentIntersectionsCulture: Epistemologies andRepresentational of Practices Diversity In UniversityColumbia Press. Press. SAGE. . 1997. 117 Boundaries ofCulture New& York: Francis. Taylor British Film Institute.British Film 33 (2) (January 1):255 TransgenderCroatia: PersonsAShadow Report.” in Reader Culture Visual Press. – New Subjectivities: Negotiating Citizenship inthe Negotiating New Subjectivities: Contextand Migration of . 2011. “Queer Trouble in Ljubljana”. Trouble. 2011.“Queer Blog. in 76. – – 162. O 128.

Profit andProfit Pleasure Repr Cultural Representation: , Golanska, Dorota andDorota ( , Golanska,A.Rozalska New York and London:Newand York Routledge. xford and York:xford New BerghahnBooks. Out Takes:Theory andFilm Essays onQueer Social Theories of Art: A Theories ofArt: Critique Social Cosmopolitanism andthe GeographiesCosmopolitanism Film Cultures Cinema of Flames: Balkan Film, Culture andthe Culture Media ofFlames:Film, Balkan Cinema

. Washington: Smithsonian Institution. Washington: Smithsonian Press. , Jones, Amelia ( – 282. . New York and London:York . New and Routledge.

London:. SAGE.

In - chengLo. 2010. Signs: Journal of Women andSociety JournalSigns: of inCulture Culture, Media,Culture, Language 242 esentations and Signifying Practicesesentations Signifying and Ed

The Artist Outsider: The Artist ), 94

Eds –

105. New York:105. Routledge. . Ne ), 19

Handbook of Cultural Sociology Handbook ofCultural w York: New York Universityw York: York New

of Freedom – 49. Lodz:49. Lodz. Universityof of Lesbian, Gay,Lesbian, Bisexualof and . Durham: Duke. Durham: University

Creativity andthe , Hall, Stuart (ed),, Hall,

Cultural Critique Cultural . New York:. The Feminism and

BeyondWriting . London:. . London:.

(29): .

CEU eTD Collection Kulpa, Robe Is Or What Kulpa,Lost, Robert.Be Queer? 2011.“(Un)Translatable Found and Can in Kuhn, Annete. State ofFilm Feminism.” 2004.“The andMedia Kuhar, Roman.2011.“The Heteronormative and ofthe theTransparent Closet Panopticon Kavaliauskas, Tomas.2012. ——— Kaplan, E. Ann.1997. ——— Kajinic, Sanja.Lesbians 2003.“Experiencesat of theZagreb Belgrade and Pride Pride 2001 Kaiser, MichaelM.2008. Nebojša.Jovanović, Forthcoming Amelia. 2003. Jones, Lynda,Johnston, and RobynLonghurst. 2010. Lynda.Johnston, 2005. Fredric.Jameson, 1991. Jagose, Annamarie. 1996. MichaelJackman, Fieldwork:Methodologies.” 2010.“The Connors. with Queering Trouble 62 FestivalLiberal according toPress.” . 2002”. Master’s Budapest: Thesis, European University. Central Organizations Herzegovina, 1951 Sexualities Routledge. Duke University Pres Science Research In Eastern European Perspectives Translation...( andSocietyCulture Ltd.Ashgate Publishing, European Perspectives SpacePublic inSlovenia.” andGeopolitical, Cultural, Socioeconomic Shifts Women andSociety inCulture .

2010. “Battle for Sarajevo’’2010. “Battle for First as Closureofthe Queer Metropolis’’: Sarajevo 2004. “Globaland theState of Feminisms Feminist Film Theory.” – QueerMethods Queer Intersecting andMethodologies: Theoriesa 82. rt

and Joanna Mizielinska. and Mizielinska. Joanna . New Rowman&Littlefield. York:

The Fe . Waltham: Brandeis University Press. Panel Looking for the Other for Looking Queering PerformancesGay Paradoxical PrideParades Tourism: at Postmodernism, Or, , 113.128. London: Ltd., 113.128. Publishing, Ashgate The Art of theTur The Artof - Queer Theory 1991”. PhD diss.,Budapest: PhD European University.1991”. Central

).” ).” 30 (1) (January30 (1) 1):1221 minism and Visual Culture Reader Culture andVisual minism Tr s.

, 149 , In Vienna ansformations in in ansformations Central Europe BetweenAnd2012: 1989

2014 In: - 167

De 30 (1) (January 1): 1236 (January30 (1) 1): . London: Ashgate Publishing, Limited. Publishing,London: . Ashgate . “Gender, Socialism, andSocialism, theCinema of Bosnia. “Gender, 2011 . Eds. Robert Kulpa and Joanna Mizielinska. London: and. Eds.RobertMizielinska. Kulpa Joanna . New York: New York University Press. New York: University York. New : University ofVienna. - Cent naround: Healthy CreatingandMaintaining Arts The Anthropology of East EuropeAnthropology ofEast Review The . . New YorkLondon:. New and Routledge. 243 the De ering Westernering Sexualities: CentralandEastern Space, Place, and Sex: Geographies of Place,Space, andSex:

- Cultural Logic CapitalismCultural ofLate

Centring Western Centring and Central Sexualitities: – 000.

. NewLexingtonBooks. York:.

– . New York: Routledge. York: . New

0. Signs: Journal of Women of Journal Signs: in

Signs: JournalSigns: of nd Social nd Social

. Durham:

28 (1):

. CEU eTD Collection Mercer, HeadThing: Kobena. 2003.“Skin Sex Racial Difference Homoerotic and the Meecham, Sheldon. 2004.“Identity inPho andJulie Pam, Politics Alexander.Maxwell, 2010. ——— ——— “PowerMassey,B. Doreen 1993. Makaryk,Irene 1993. Rima. Magaš,“Afterward.”In Branka. 1999. Lyon, 1999. Janet. Luebbers,Leslie.Is Way“A Feeling ofa 2009. Way Seeing: S of Lüdtke,Karen. 2009. Lorde, Audre. 2007. Loist, Skadi, de andMarijke Valck. ——— Loist, Skadi. 2007.“QueernessLGBT Fes HowQueer Are oftheScreens: Film Lambevski, “Queering Alexander. Citizenship:Editorial.” 2009. (Sexual) Kü rti, László, 2011. Skalník. andPeterrti, Sabrina Ramet ( Society andthe Yugoslav inYugoslavia andPolitics Successor States Press. In Italy hamburg.de/Medien/berichte/arbeiten/0091_08.html. Annotated Bibliography’’.” http://www1.uni Festival.”I RepräsentationenGeschichteInternationalLGBT inDer SanFrancisco Des Film . 2008.“Frameline XXX:Revolutionary ThirtyYears ofFilm. Glasgow. US andGermany?” P Forum andE from Home NewInternationalCenter York: InImaginary.” InArt.” Consequences . 2005. . 1994. the Futures: Change Global Local Cultures, Scholars The Scandal of SusanSontag of The Scandal . Oxford and New York: BerghahnBooks. and. Oxford York: New

Space, andGender Place, For Space Modern Art Modern , Terms

n . New York and Oxford: Berghahn Oxford: and YorkBo. New Manifestoes: theModern of Provocations Medien - Sist Journal forSexualities, andPolitics Cultures . New York: Peter Lang. Peter York: . New Dances with Spiders:Crisis,Dances Celebrity with andCelebrationinSouthern Only Skin Deep:Only ofthe American Skin ChangingVisions Self Ed . Toronto: University Press. ofToronto erSpeeches Outsider: Essays and . London:. SAGE. .). University Park: Penn.). University State Press. Park: , 237 The East — Encyclopedia Approaches, Theory: Literary ofContemporary resented at the Screen Conference, Studies Universityof

Diversität – - 265. Routledge. Geometry and a Progressiveand aGeometry SenseIn ofPlace.” 2008. ““Film Festivals/Film2008. Festival Thematic, Research: - West andIts Symbolic Discourse: Geography Gender Politics in Gender Politics

, 171 Postsocialist Europe: Anthropological Perspectives of Photography/Harry N.Abrams. . Minneapolis: U . Minneapolis: —

– Ungleichhei 244 188. New York: Columbia University188. New Columbia York: Press.

, 60 -

– 71. New York: Routledge. , 163 oks. niversity Press. Minnesota of the WesternWomen,the Balkans: . New York: Ten SpeedYork:. New Press. Ten

. Ithaca: University. Cornell

–

181.

ontag and theVisualontag Arts.”and tography and Performance

1 (1): 1

DerKampf Um Queere Sextures

– 6. , 275

, 237 tivals in the tivals in – - Mapping 291.

– A Virtual A Virtual 267.

CEU eTD Collection ——— O’Neill,PracticeFrom Curatorial 2007.“The Paul. In Turn: toDiscourse.” Nelson,Robert and S., Richard Shiff. 20 IslamicMurray, Know: “The Notto Stephen ofMale O.1997. Will Accommodations ——— Esteban.Muñoz, 1996.“EphemeraJosé Introductory Queer asActs.” Evidence: Notes to ——— Mulvey,Laura.“Looking Film atPresent: Feminist theRethinking 2004.Past from the Lachmann.Mosse, 1985. George LGBT Kevin.Moss, of 2004.“Queer as Representations inCentral Metaphor: People and ——— Mizielinska, 2006.“QueeringJoanna. The Problems ofTranslating Moominland: Queer T.2005. Mitchell, W. J. Mitani, Keiko. 2007.“Bal ——— Mirzoeff, Nicholas. 1999. Mesquita, Maria Sushila, Lasthofer. Katharina Katrinand 2012. Wiedlack, 1): 1286 Theory ofthe 1970s.” Publisher. ( EasternFilm.” In European ( Or. 2011.“(Un)Translatable What Queer? IsLost, an TheoryIntoNon a University Chicago Press. of Slavic ResearchHokkaido University. Center, Past andPresent DiscourseEx ofthe . 2002. Routledge. QueerTransport: Queer andActivism Theory, Motion Critique in . 2012. Contemporary Art Performance and University Chicago Press. of al ( InHomosexuality.” . 1999. &WomenA Journal Performance:ofFeminist Theory . 2009. Eds Panel Eds ), 249 ).” ), 14 Disidentifications Visual Reader Culture The Visual The Cultur – InVienna 0.

–

– 267. Ljubljana:InstituteLjubljana.267. Peace 55. New York: NYU York: Press.55. New

and Other Pleasures What Do Pictures WantWhat DoPictures , 289 e of Curating andthe Curatinge Culture(s) ofCurating of - kan as a Sign: Word of the Usage An Introduction to Visual C An Introduction toVisual American Context.” Context.” American : University of Vienna.: University of - Islamic Homosexualities: Culture, History Homosexualities:Culture, Islamic Yugoslav InPeople.” – Signs: Journal of Women Journal andSocietySigns: Culture of in 315. Hayashi Fukuda and Tadayuki Hiroshi ( . Minneapolis: University ofM Natio Beyond the Pink Curtain Beyond thePink

nalism andnalism Sexuality 03. . New York and London:. New and York Routledge. . New York: Palgrave . New Macmillan. , 13 Critical Terms for ArtHistory Terms for Critical 245 SQS –

? 28. Bristol: Intellect Bristol: Books.28.

Regions in Central andE inCentral Regions The Lives andLoves Images of .

ulture

. New York: Howard FertigYork:. New Howard BalkanLanguage and in . New York and London:. New York and , Kuhar, Roman and Judit Takacs, Kuhar, Romanand Judit

d Can Be Found inTranslation Be Found d Can

8 (2): 5. innesota Press. , Murray Stephen O.et . Cambridge: Mit Press. Mit . Cambridge:

. Vienna: Zaglossus.. Vienna: . Chicago: Import astern Europe: Issues in Curating Issues inCurating Eds

30 (1) (January .). Sapporo: .). . Chicago: - Export -

CEU eTD Collection Rhyne, 2007.“Pink Film Dollars: Gay Ragan. Lesbian Festivals Economy and of andthe Renkin,Z. Hadley“Homophobia and Belonging 2009. Queer inHun Radoman,“RepresentationLGBT onExtremist Marija. Population RightSites Web of 2007. K.2007. Puar, Jasbir Prucher, Jeff. 2007. Griselda.Pollock, 2008. Ken.Plummer, 2005.“CriticalLiving and Humanism QueerIn Theory:with the Tensions.” SarahPink, Identities/NationalismPeterson, 1999.“Political V.Spike. asHeterosexism.” Pejić, Bojana.“Lady Luxembourg, 2005. Rosa of Nationalists, andPavlović, Tatjana.inCroatia:“Women In Feminists, 1999. Homosexuals.” Vassilis Tsianos. 2008. Papadopoulos, NiamhStephenson, Dimitris, and Onir. BeingLoved.” Was 2008.“My Child Obrist, Hans Obrist, Hans 2008. Simon. O’Sullivan, London: SAGE. TheQualitative SAGE Research Handbook of Feminist Politics Journalof OE and b_books. InBygone Era?” Penn State Press. Successorand theYugoslav States Gender Politics Press.London Pluto AnnArbor: and (1) (January 1):128 Were aboutCurating: But Know toAsk Afraid Ringier Macmillan. /rhyne_ragan.php. http://www.nyu.edu/projects/cinema.resources/dissertationsSit Visibility”. York New University. York: New European Journal ofAnthropology in Serbia”. Belgrade:Belgrade, Faculty ofPhilosophy Department ofSociology. Duke University Press. UniversityOxford Press. Wiley.Oxford: . 2007. - - Ulrich, and LionelBovier.andUlrich, 2008. Ulrich, and April Elizabeth Lamm.April Elizabeth and Ulrich, 2011. .

Doing Visual Ethnography Doing Visual Brave New Words New Brave Terrorist Assemblages: Homonationalism inQueer Assemblages:Terrorist Homonationalism Times

in the WesternWomen,Society Balkans:in the inYugoslavia andPolitics

Psychoanalysis In the Place ofthe PublicPlace SphereIn the

Art Encounters Deleuze andGuattari

– 130.

1 (1) 1):34 (April : The

and the Image: Transdisciplinary Perspectivesand theImage: Transdisciplinary , 131

53 (1): 20

GLQ: A andGay Journal ofLesbian GLQ: Studies

Oxford Dictionary ofScienceOxford Fiction 246 . SAGE. A Brief HistoryofCurating A Brief – 153. Sabrina Ramet (

or , Is, Allegory Female theAge a of Really – , Denzin, N.et al( , Denzin, . Berlin:Sternberg Press. –

37. Everything You AlwaysWantedEverything You to 65.

68 – 93. Ed. Simon Sheikh.93. Ed.Simon Berlin: . New Palgrave York: gary.” Ed e/indices/phd_graduates Eds .). University Park: .). University Park: Escape Routes . Zurich: JRP Zurich:/ JRP ), 357 Focal: The International

. Dur – . Oxford: . Oxford: 375. ham: . .

14 CEU eTD Collection Sowers, Robert. 1990. ——— ——— Sontag, Susan.2004. Simic andShohat, Ella, Robert2002.“Narrativizing Stam. a Polycentric Visual Culture:Towards Shepard, and Ronald Benjamin Hayduk. Heim, 2002. Sedgwick, 2008. Eve Kosofsky. Ja Scott, Schwartz, Vanessa R.2007. Sayres,Latter The Summa: Sohnya. 2009.“In Es Sassen, Saskia.Street 2012.“Global Sagasta,“Lesbians Croatia.” in S.2001. Rosenberg,“Locallyon theFeminist Tiina. Genealogy 2008. Queer: AQueer Note of 2007. Rose, Gillian. Rooke, 2010.“ Alison. B.Rich, In Ruby.“The NewCinema.” Queer 2004. , Mima.2001.“LGBTIG inCroatia”. Pride Politics Kultur Oesterreich. Press. Haven:Press. University Yale Culture Film Cosmopolitan Susan Sontag http://commons.wikimedia.org/wiki/File:Saskia_Sassen_on_Subversive_festival.jpg. Subversive Festival, 14,Zagreb. May (August): 357 Theory.” and Social Science Research Ethnography.”In ( California Press. . 2010. . 2009. http://igkultur.at/lingua/english/lgbt YorkLondon: and Routledge. Aesthetics.”In London:and Verso. Eds mes C.2008. ), 53

On Photography InterpretatiAgainst – Graduate Journal of Social Science of Journal Graduate 60. New York and London:andYork 60. New Routledge. Visual MethodologiesVisual , 205 – Regarding thePainOthers of Regarding Domination andtheArtsof Resistance: Hidden Transcripts 372. Rethinking the Forms of Visual Expression the FormsofVisual Rethinking The Visual Culture Reader Culture The Visual Queer in the Field: On Emotions, TemporalityQueerField:Performativity intheOnEmotions, and in

QueerMethodsTheories Intersecting andMethodologies: Queer –

236. New York: University Columbia Press.

It’s soFrench . New Picador. York: Epistemology ofthe Closet on andOther Essays . Chicago: University of Chicago. Chicago: Press. University of , 25 -

Making of Politics”. Public lecture Public Politics”. Making of presentedat the – European Journal of Women’s Journal of European Studies 41. London:41. Ltd. Publishing, Ashgate . !

London: SAGE. pride Hollywood, Paris, andtheMaking Paris, of Hollywood, 247

- says , 27 politics . NewFarrar, York: and Giroux. Straus Queer Cinéma

5 (2): 5 5 (2): – Fr - 49.

. New Penguin Books. York: an Appreciation.” In an Appreciation.” om ACT UPom ACT tothe WTO

- in Edited by Mirzoeff. Nicholas . Berkely:University ofCalifornia

- – croatia. 19.

. Berkely: University. Berkely: of , Benshoff Harry, M.et al

The Scandal of

8 (3) . New York York . New . New

New New

CEU eTD Collection ——— Vuletic, Dean.“GayLesbian 2003. Croatia:and History ofFrom Second Worl Vice, Sue. 1998. Valck, Marijke 2008. de. Tyler, Carol Turan, Kenneth. 2002. Torino GLBTFilm 2012.“27Torino Festival. Film GLBT Festival.” Toppings, Essays Michael.2008.“Performing Arts Series: Todorova, 2009. Maria. Thornham, 2007. Sue. Thea, Carolee,Micchelli. and Thomas 2009. Thea, Carolee. 2001. Taylor, Charles,Amy and Gutmann. 1994. N Sullivan, Sturken, Marita,Lisa Cartwright. and 2009. Strong, BeretE.1997. Storey, 2006. John. Igor.Štiks, and 2011.Reg Citizenship “TheEuropean Union http://www.queercitycinema. Curators Curatorial Program. Recognition University Press. Press. Evanston: NorthwesternUniversity Press. Education. Institute134. Paris: European Union: forStudies. Security WesternThe theEU: HourofEurope” Balkans “The and History 2000.” till from ofCroatia 1990 . 2004.“The 90ies 1990.” Amsterdam:University Amsterdam Press. Blackwell. In Berkely: http://www.lgbtsupports.org/torino Coming out of Feminism outof Coming ikki. 2003. ikki. - Anne. 1998. “Desiring QueerRe 1998. Machines: Anne.

Gordogan . New Art York: Publishers. D.A.P./Distributed University Press. ofCalifornia Introducing Bakhtin Introducing

. Princeton: Princeton University Press. Cultural Theory andPopularCulture Foci: I Foci: A Introduction to Critical Queer Theory Women, F The Poetic Avant Sundance to Sarajevo: Film Festivals and the World Festivals toSarajevo:the Sundance and Film They Made Imagining the Balkans Imagining

. Film Festivals: Geopolitics Cinephilia FromEuropean toGlobal

between Authoritarianism and Liberalism: andbetweenLesbianAuthoritarianism and Gay nterviews with Ten InternationalCurators nterviews with eminism andMedia ?

ca/2008/?s=2008&p=pas_essays. Mandyet al( Merck . Manchester: ManchesterPress. University - Garde: TheGarde: GroupsofBorges,Auden, andBreton - glbt Multiculturalism: ExaminingMulticulturalism: of the Politics Practices Looking of On Curating: Interviews TenOn Curating: International with 248 . New York: OxfordUniversity US. Press -

film Gordogan

- . Edinburgh: Edinburgh University Press. festival/. - Eds

Visions of Feminist FilmTheory.” ofFeminist Visions : An Introduction .

Queer City Cinema.” imes in the Western Balkans.” Inimes intheWestern Balkans.” ), 154

. Edinburgh: Edinburgh. Edinburgh:

, ed. 123 Jacques Rupnik, . Oxford: Oxford University Oxford . Oxford:

– 194. Oxford: Wiley 194. Oxford:

. New York: Art Apex . London:. Pe d War to d War

Regina. . - arson arson

– . .

CEU eTD Collection Zielinski, theProduction of“On Ger.Heterotopia, andinaround 2012. Other Spaces, Zenker,Karste and Olaf, Žarkov, Dubravka. 2007. Woodcock, Shannon. 2011.“A ShortHistory the Queer Time of of‘Post Tam Wilton, Liz.Wells, 2004. Lutz.Wekker, Gloria,Helma 2001.“A and Wind Waugh, Straayer. Film Thomas, andFestival“Queer Forum, andVideo Take Chris 2007. 2009.“SontagWalker, Julia. In onTheater.” (fall). Lesbian and Fi Gay Books. Epistemologies andRepresentational Practices Yugoslavia Mizielinska.Joanna andEasternEuropeanCentral P Let’sor AreIn AskMadonna!” There We Yet? andJouwe G.Wekker ( Ethnicity 138. Three: Speak Artists Out.” York: Colum

sin. 1995. sin. 1995.

- Thought in the Netherlands.” InNetherlands.” the Thought in Photography: Introduction ACritical . Durham: Duke University Press. bia University Press. Lesbian Studies n Kumoll. 2010. n Kumoll. The Body of War:The Body ofandGendertheBreak Media,Ethnicity, in lm Festivals.” Festivals.” lm London:Ltd. Ashgate Publishing,

Eds GLQ AJournalandGay ofLesbian Studies .). Amsterdam: KIT Publication. . New York and London:. New and York Routledge. erspectives

Jump A Cut: Contemporary Reviewof Media Beyond Writing CurrentIntersections Culture: of The Scandal SusanSontag of The 249

- Caleidoscopische Visies Caleidoscopische Swept Plain: TheSwept Hi Plain: , 63

. Oxford and NewBerghahn. Oxford York: – . New York and London:. New Routledge.and York De 85. - Centring Western Centring Sexualities: Edited by and Robert Kulpa

storyGender andof - Socialist’ Romania,Socialist’ . M. Botman, N. . M.Botman, , 128

14 (1): 121 14 (1): – 155. New -

54 up of –

CEU eTD Collection ——— Puača,ed. Majda,2005. FestivalLesbianLjubljana.Gay and“26. of FilmLezbič Festival 2010. Izvještaj Udruge ReportDomino. 2011.“Program of Domino(Programski theAssociation Primary sources von Ah,Andre.Interview Tape 2012. recording. by author. Zvonimir.Interview byauthor. 2010. Tape recording. Interview 2009. Tomislav. byauthor.Zagreb. Tape recording. Tatjana Š InterviewMasseno, Andre. recording. by author.Zagreb. Tape 2009. Karla Johnson Jelena. 2010. InterviewIvo. Tape by author. 2010. recording. InterviewIvna,2009. Nataša andauthor. Nerina. Tape by Zagreb. recording. Ivana.Interview 2010. byTaperecording.author. InterviewInes.author. Tape 2010.recording. by InterviewHoghe, 2009.recording. Raimund. by author. Tape Helena Gabe.Interview author. Tape 2010.recording. by InterviewDunja. 2010. byTaperecording.author. Interview 2009. David,Franko. author. Mario Tape andby Zagreb. recording. Primary sources priovan . 2010. . 2010. Interviewby. 2010. Taperecording. author. . 2010. . Belgrade:Belgrade. Queer http://www.ljudmila.org/siqrd/fglf/26/katalog.pdf LesbianFilma (26thandFilm).” FestivalGay of Zagreb.Domino)”.

, Dominic.Interview 2009. author. Tape recording. by ed. 2007. , Sun Interview Interv č Interview ana

– - Malfunction .

interviews iewTaperecording. byauthor. 2013. 2013. Festival catalogues

by author. Taperecording.byauthor.

Preparing aSpace: of Documentation by author. Correspondence

: . Belgrade:Belgrade. Queer

Taperecording.

and press materialand

with author. 250

Zagreb. Zagreb.

Zagreb.

Zagreb. Zagreb

Zagreb. Zagreb.

Zagreb. Ljubljana.

Zagreb.

April

Ljubljana.

. .

Zagreb :

17, Zagreb. Zagreb.

Zagreb. Party and Politics FestivalParty andPolitics .

nega in Gejevskega nega inGejevskega

. CEU eTD Collection ——— QueerZagrebFestival 2009.Index.hr. and “Memorial PlaqueNazor toPoets Kovacic Hatred? Destroyed because of V SubversiveZagreb. Festival Velikonja, Natasa.“20Ljubljana: Festival Festival 2003. Years”. ofle Accessed QueerZagreb Press ——— ——— ——— ——— ——— ——— ——— ——— ——— ——— QueerZagrebFestival. 2003a Puača, ed.2008. Majda, and Milica MoonJet, Jeremić, isual sourcesisual Ljubljana. . . 2012b.“Zagreb . 2011a.Zagreb “QueerFestival Book Program 2011”. . 2010a.Zagreb “QueerFestival B Program . 2009a.Zagreb “QueerFestival BookZagreb. Program 2009”. Domino. . 2008a.Zagreb “QueerFestival BookZagreb. Program 2008”. Domino. . 2007a.Zagreb “QueerFestival Book Program 2007”. . 2006a.Zagreb “QueerFestival BookZ Program 2006”. Domino. . 2005a.Zagreb “QueerFestival BookZagreb. Program 2005”. Domino. . 2004a.Zagreb “QueerFestival BookZagreb. Program 2004”. Domino. Belgrade:Belgrade. Queer content/uploads/images/queerzagreb2004logo.jpg . 2004b. M/object/rdf/42 http://www.unstraight.org/collection.php?page=detail&uri=http://kulturarvsdata.se/TU Museum. spomen August 28. (Zbog Demolirali Mrznje and Politics 2013.

March 23, 2014 at: March 23,2014 “Queer Zagreb“Queer 2013.” Site Domino.Zagreb. - : plocu 2004 Queer Poster Zagreb

http://www.ljudmila.org/siqrd/fglf/20/20let.php http://www.index.hr/vijesti/clanak/homofobi . Zagre - release. 2004.“Radojkarelease. Šverko”.Qu - . 2003b. . 2003b. pjesnicima .

Queer 2012”. Domino. b.

2013. . “ http://www.domkulture 2003 QueerFlyer andPoster Zagreb Queer ZagrebFestivalQueer Program Book Domino. 2003”. - Spomen Plocu PjesnicimaSpomen Nazoru i nazoru

Enacting NewAlliancesQueerness, intheBalkans: Class - i - . JPEG. . JPEG. kovacicu/447905.aspx 251

Zagreb. ook 2010”. Domino. Zagreb.ook 2010”. Domino. Queer.hr. - zvonimir On Transgender,Work andonSex . eer ZagrebFestival. eer

http://queer.h Domino. Zagreb.Domino. Domino. - - solin.hr/artists/41 zbog . .

. RDF. The. RDF. Unstraight

- Kovacicu?).” mrznje and gay in sbian film

agreb. r/web/wp - demolirali Zagreb.

IndexHr -

- . , CEU eTD Collection Arslani, Kovacic Merita.and N 2009.“I.G. Media Vaupotić, Darko.2009. ——— ——— ——— ——— ——— ——— ——— ——— ——— ——— ——— ———

sources . 2010b. demolirali Hatred? . 2009c. http://www.queerzagreb.org/?page_id=541 . 2009b. 2207520000.1361826527&type=3&theater https://www.facebook.com/photo.php?fbid=390767687484&set=pb.177602567484. QueerZagrebFacebookpage. Dobrović atthePerformativePlaque Inauguration of atthe2007Festival . 2007d. http://queer.hr/web/wp . 2007c http://www.queerzagreb.org/?page_id=539 . 2008b. http://www.queerzagreb.org/?page_id=536 . 2007b. http://www.queerzagreb.org/?page_id=534 . 2006b. http://www.filmski.net/vijesti/dugometrazni . 2005c. http://queer.hr/web/wp . 2005b. Ljubavnici).” brazil/?nggpage=3 %E2%80%93 http://arteq.org.rs/2009/05/ http://www.queerzagreb.org/?page_id=549 . 2012a. http://www. . 2011b. http://www.queerzagreb.org/?page_id=543 . :

2005 QueerFestival Zagreb Poster 2012 QueerFestival Zagreb Poster DestroyedHomophobes PlaquebecauseNazor toPoets Kovačić the andof 2007 QueerFestival Zagreb Catalogue 2011 Queer Festival Zagreb Poster 2010 Queer Festival Zagreb Poster 2009 Queer Festival Zagreb Poster Ž Artist 2008 Queer Festival Zagreb Poster 2007 Queer Festival Zagreb Poster 2006 Queer Festival Zagreb Poster 2005 Queer Festival Zagreb Catalogue JPEG. JPEG. - spomen queerzagreb.org/?page_id=547 Jutarnji List (online) List Jutarnji - queer Index.hr. eljko andQueer Zorica Festival Zagreb DirectorZvonimir Program The Banquet at the Queer Zagreb FestivalThe Banquet2009 theQueer at . -

plocu

- zagreb - - content/uploads/images/qu content/uploads/images/queerzagreb2007logo.jpg - http://www.index.hr/vijesti/clanak/homofobi pjesnicima predstava - festival .

azor Were Lovers s i Nazor (I.G.Kovacic Were azor - - 2009 - gozba nazoru 252

- teatro ...... -

- %E2%80%93 . JPEG. Filmski.net. . JPEG. . JPEG. . JPEG. . JPEG. . JPEG. . JPEG. . JPEG. . JPEG. . JPEG.

- film/2948 i - kovacicu/447905.aspx . JPEG. . JPEG. . JPEG. . JPEG. - oficina eerzagreb2005logo.jpg Queerzagreb.org. Queerzagreb.org. Queerzagreb.org. Queerzagreb.org. Queerzagreb.org. Queerzagreb.org. Queerzagreb.org. .

- Queer.hr. Zagreb. %E2%80%93 - o - banquet . JPEG. Arteq.. JPEG. - . po

- zbog - platonu . .

- mrznje u Bili . JPEG. . JPEG. - - - CEU eTD Collection Župančić, “Should Zagreb 2005. Vatroslav. the Pay Festival for (anti)culture?” of “QueerVečernji 2003. for list. First the Tea.Skokic, Croatia 2011.“Can SwallowThat? Radio B92. 2006.“Gay Parade “SixDays 2003. Novi list. ofAlternative Sexuality(Šest Alternativne Seksualnosti).” Dana ——— Matejcic,Barbara. “OdeFriendship (Oda Prijateljstvu).” toTender Njeznom 2007a. “ConversatioMatasović, Trpimir. 2005. Klasje, the Margins Sanja. the 2005.“From Mainstream into Zvonimir andTaboo: Dobrov Hvala, Tea. 2009.“ Grew,“BelgradeFestival afterFascist Attack.” Tony. Queer 2008. Defiant Globus. 2003.“GayFe Durkalic, 2008.“SeriatPolice Masa. Duhacek,IsGordan.“OurY 2011.Aim 10 Victory! Dota, Franko.Pride an 2011.“Sex, LesbianBitno.net. Embrace Posters 2013.“Christianophobia ofMadonnain at Work: Dobrovićem).” (04 Dobrović,Zagreb QueerFestivala).” Organizator Organizer of Que http://www.grassrootsfeminism.net/cms/node/194 defiant September 21. 10. Pobjeda).” Politika).” Lezbijskom Zagrljaju)”,January 14. Zagrebover n (Kršćanofobija September 7. List to Progutati?).” Saopštenja)”.Belgrade. Novi List Queer Svoju Dobili Spomen Plocu).” . 2007b.“Nazor Kovacic and Got Thei

, April 17. -

Megazin z - after , April 17. Zarez Zarez An Interview RedDawns, at HvalaSlovenia, withTea 2009.” An - fascist

http://www.pinknews.co.uk/2008/09/21/belgrade a Hakiranje Stvarnosti) a Hakiranje Zagrebstival in Festival u (Gay Zarez Zarez

XIII (September 24 (311) 6): er ZagreberMainstream Festival u Margine i (S XIII (311) (SeptemberXIII 19 (311) 6):

- attack/ , September.

XIII(September 26 (311) 6):

Press Statemen Clipping and . d Politics. 10Yeard Politics.

a Djel in Action (Serijatska Policija u Policija in Action (Serijatska Time in Zagreb u PrviPut Time in (Queer n wi

u: Po ZagrebuOsvanuliu: Po PlakatisGospomu

th Zvonimir DobrovićZvonimir (Razgovor s th 253 Vjesnik r Queer Memorial Plaque (Nazor i r Queer MemorialPlaque (Nazor , September. 10Zagreb Years l of Pride (Moze

ears of Zagrebears j of Pride (NasCilj , May 14. s of Zagreb Prajd i (Seks, s of Pride – –

26. 21. Zagrebu).” 04 .

–

28. -

ts (Gej Parada ts (Gej Parada Megazine for

Globus

Akciji).”

Tabu Teme: ZvonimirTabu Teme: - queer

, April 17. , Zagrebu).”

Pin Reality HackingReality -

- Press C Dani festival kNews.co.uk

Zvonimirom

Kovacic Vjesnik i Hrvatska , March e

Vjesnik

liping i Večernji - All

, ić, . .