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Exploring Alternative Geographies, Politics and Identities in Bosnia and Herzegovina Through Contemporary Art Practices

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Exploring Alternative Geographies, Politics and Identities in Bosnia and Herzegovina Through Contemporary Art Practices Exploring alternative geographies, politics and identities in Bosnia and Herzegovina through contemporary art practices Charlotte Whelan Thesis submitted for the degree of Doctor of Philosophy (PhD) UCL, Geography ! Statement of Originality I, Charlotte Whelan, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. I confirm that it is the result of my own original research and not the result of a collaborative project. I confirm that the thesis has not previously been submitted in part or full for a degree award at UCL or any other University. Signature: Date: ! Abstract An extensive literature in political geography has examined the breakup of Yugoslavia and the contested politics of its successor states. Bosnia and Herzegovina has been a focus of particular attention due to the scale of violence that took place there and its complexity as the most multicultural state in Yugoslavia. However, existing studies have tended to maintain a focus on wartime events and the post-war fragmentation of the country, overlooking the ways in which these are being reworked creatively outside of orthodox political channels. In light of growing geographical interest in art, the thesis examines how Bosnia is being reworked through artistic practices and the implications of this for understandings of the region. Conceptually, the thesis draws on feminist and subaltern approaches to geopolitics as well as debates in art theory and practice. Methodologically, it is based on ethnographic fieldwork and participation in ongoing art projects, as well as research on Yugoslav and post-Yugoslav art history. Engaging with artists and art practices, the thesis contributes to a deeper understanding of the alternative geographies, politics and identities of contemporary Bosnia. While recognising the role of overtly political art, the thesis emphasises various forms of antipolitical art practice that question dominant narratives, add new layers to understandings of place, and allow for the redefinition of identity. The thesis also demonstrates how, through alternative networks and practices, artists are engaged in a process of normalising space. The argument is not that past events should be ignored but that artists are creating opportunities for multiple engagements with contested places. The thesis therefore moves the political geography literature on Bosnia forward by highlighting under- researched practices and suggesting new avenues of inquiry. More broadly, the analysis has implications for the way the region is studied and suggests orientations for the study of art in contested contexts. ! Acknowledgements I would like to thank UCL and the Geography department for giving me the opportunity to conduct this research, and the ESRC for their financial support, without which I would not have been able to undertake this work. Additionally, the three-month language training extension granted to me by the ESRC allowed me to deepen my knowledge of Bosnian/Serbian/Croatian and complete my research within the funded period. Particular thanks go to my supervisor, Dr Alan Ingram, for bringing an invaluable critical eye to my work and guiding me through the many academic hurdles of the PhD. Additional thanks go to my second supervisor Dr Jason Dittmer for making my upgrade such a constructive experience. The final UCL-based thanks go to Miles Irving and the drawing office for providing me with excellent maps to illustrate my work, and to Jelena Čalić (SSEES) for making Bosnian/Serbian/Croatian language finally stick in my brain (this was no easy task). None of this research would have been possible without the help and assistance of the many people in Bosnia and Herzegovina that allowed me to interview and work with them, provided me with accommodation, helped me with the language, and generally made my time there one of the best experiences. Special thanks go to Tač.ka and especially Nemanja Čađo, who is now a dear friend; and to Andrej Bereta and Kristina Nikolić for welcoming me into their home and family, and for being very patient during our Bosnian/Serbian language days. Moving eastwards, I would like to thank my language teacher and friend in Belgrade, Milica Vuković, for always pushing me and believing in my ability to master the strange language with many names. On a more general personal note, I would like to thank my friends and family across the globe that supported me in numerous ways through many difficult times. I have not always been the easiest or most emotionally stable person during this process, but you all made it a lot more bearable and knew the best ways to bring me back to reality. Particular thanks go to my partner, Zoran, who has had to deal with this the most. He never once doubted me or my ability, he nursed migraines and freak-outs, and he always made me laugh even when I was at my lowest. He has also been ! another (mostly) patient language-learning assistant. Additional thanks go to SD for his skill in keeping me calm. Finally, I would like to thank my parents for putting up with me for thirty years - not just the PhD period! None of my achievements would have been possible without their continued support and enthusiasm towards my education and academic pursuits. ! TABLE OF CONTENTS LIST OF FIGURES 1 INTRODUCTION 4 CHAPTER TWO: RETHINKING IDENTITY AND PLACE IN BOSNIA 13 INTRODUCTION 13 IMAGES OF THE BALKANS IN THE WESTERN IMAGINATION 13 FRAMING THE CONFLICT 17 DAYTON AND THE PROCESSES OF FRAGMENTATION 19 RESPONDING TO FRAGMENTATION 28 RETHINKING SPACE AND IDENTITY IN BOSNIA 35 CONCLUSION 47 CHAPTER THREE: EXPLORING THE USES OF ART AND ART PRACTICES 49 INTRODUCTION 49 SOCIALLY ENGAGED AND PARTICIPATORY ART PRACTICES 49 POLITICS, AESTHETICS AND ART 56 GEOGRAPHICAL CONTEXT AND ART 59 HUMOUR AND ART 63 ANTIPOLITICS AND ART 67 CONCLUSION 71 CHAPTER FOUR: METHODOLOGY 72 ART-GEOGRAPHY COLLABORATIONS: EXPLORING SPACES AND PROCESSES 73 REFLECTIONS ON PARTICIPATORY APPROACHES 77 DATA GATHERING AND ANALYSIS 80 CHAPTER FIVE: ENGAGING WITH CONTESTED SPACES – THE FRAGMENTED NARRATIVES OF ART AND HISTORY 86 INTRODUCTION 86 REWORKING MEMORY AND TRAUMA IN KOZARA NATIONAL PARK 87 ARTISTIC ENGAGEMENTS WITH PLACE: SELECTED WORKS FROM ARS KOZARA (2007-2015) 95 CONCLUSION 109 CHAPTER SIX: REAPPROPRIATING SPACE AND IDENTITY IN REPUBLIKA SRPSKA 111 INTRODUCTION 111 CREATING REPUBLIKA SRPSKA 112 ARTISTIC (RE)IMAGININGS 118 CONCLUSION 130 CHAPTER SEVEN: THE ANTIPOLITICS OF HUMOUR IN CONTEMPORARY BOSNIAN ART PRACTICES 132 INTRODUCTION 132 HUMOUR IN YUGOSLAVIA 133 RIDICULOUS DISRUPTION IN BOSNIAN ART 142 PLAYING ALONG TO SUBVERT STEREOTYPES: CREATIVE EMPLOYMENTS OF OVERIDENTIFICATION 151 MOCKING FOUNDATIONAL MYTHS: HUMOUROUS APPROACHES TO MEMORIALISATION AND INVENTED TRADITIONS 158 CONCLUSION 164 ! CHAPTER EIGHT: EPHEMERAL SPACES AND LASTING CONNECTIONS IN THE CONTEMPORARY BOSNIAN ART SCENE 166 INTRODUCTION 166 EPHEMERAL SPACES OF DIFFERENCE: REDEFINING CONCEPTS OF FRAGMENTATION IN BOSNIA 168 TEMPORARY PERMANENCE: BUILDING A FRAMEWORK FOR LASTING COOPERATION 180 BALKART: BEYOND BOSNIA 191 CONCLUSION 200 CHAPTER NINE: EXPLORING ALTERNATIVE MODELS OF CULTURAL PRODUCTION IN POST-DAYTON BOSNIA 202 INTRODUCTION 202 THE NEW FACE OF (YUGO)NOSTALGIA 204 RESURRECTING THE FIVE-YEAR PLAN 213 SOCIETY AND THE ARTIST 223 CONCLUSION 229 CHAPTER TEN: CONCLUSION 230 ADDRESSING MY RESEARCH QUESTIONS 231 ART, PLACE AND SOCIETY 234 ACTIVE (YUGO)NOSTALGIA 236 REASSESSING THE ROLE OF HUMOUR IN THE STUDY OF ART AND PLACE 237 POST-BALKANIST STUDIES 238 CONCLUDING REMARKS AND NOTES FOR FURTHER RESEARCH 241 BIBLIOGRAPHY 243 APPENDICES 265 APPENDIX 1: LIST OF INTERVIEWEES 265 APPENDIX 2: LIST OF EXHIBITIONS 269 ! ! List of figures Chapter Two Figure 2.1: Map of Bosnia indicating the entity structure (UCL drawing office) Figure 2.2: Map of Bosnia indicating the canton structure (UCL drawing office) Chapter Five Figure 5.1: Map showing the location of Kozara National Park (UCL drawing office) Figure 5.2: Photo of the Mrakovica memorial, 24 August 2014 (Author’s own) Figure 5.3: Aerial view of the Mrakovica memorial, 2005 (Courtesy of Kozara National Park Press Office) Figure 5.4: Photo of Goran Čupić’s work Shooting Something, Ars Kozara August 2014 (Courtesy of Tač.ka) Figure 5.5: Photo of Nela Hasanbegović’s work Healing, Ars Kozara August 2009 (Courtesy of Tač.ka) Figure 5.6: Photo of Marko Crnobrnja’s work Exit, Ars Kozara August 2012 (Courtesy of Tač.ka) Figure 5.7: Photo of Davor Paponja and Miodrag Jović’s work Children of Kozara, Ars Kozara August 2014 (Author’s own) Figure 5.8: Photo of Davor Paponja and Miodrag Jović’s Ars Kozara work, Children of Kozara, one year on (2015) (Author’s own) Figure 5.9: Photo of Nemanja Čađo’s work Shelter for future generations, Ars Kozara August 2012 (Courtesy of Nemanja Čađo) Figure 5.10: Photo of Nemanja Čađo’s Ars Kozara Ars Kozara work, Shelter for future generations, two years on (2014) (Author’s own) Figure 5.11: Photo of Nikolina Butorac’s work Tea against indifference and inertia, Ars Kozara August 2015 (Author’s own) Figure 5.11: Photo of Nikolina Butorac’s work Tea against corruption, Ars Kozara August 2015 (Author’s own) 1 ! Chapter Six Figure 6.1: 2014 photo of the Kozaračko Kolo mural by Tač.ka for Ars Kozara 2013, photo taken 20 June 2014 (Author’s own) Figure 6.2: 2014 photo of sections of the Kozaračko Kolo mural by Tač.ka for Ars Kozara 2013, photo taken 20 June 2014 (Author’s own) Figure 6.3: 2014 photo of sections
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