SLAVICA TER 17 SLAVICA TERGESTINA European Slavic Studies Journal VOLUME 17 (2016) The Yugoslav Partisan Art SLAVICA TER 17 SLAVICA TERGESTINA European Slavic Studies Journal VOLUME 17 (2016) The Yugoslav Partisan Art SLAVICA TERGESTINA European Slavic Studies Journal ISSN 1592-0291 (print) & 2283-5482 (online) WEB www.slavica-ter.org EMAIL [email protected] PUBLISHED BY Università degli Studi di Trieste Dipartimento di Scienze Giuridiche, del Linguaggio, dell’Interpretazione e della Traduzione Universität Konstanz Fachbereich Literaturwissenschaft Univerza v Ljubljani Filozofska fakulteta, Oddelek za slavistiko EDITORIAL BOARD Roman Bobryk (Siedlce University of Natural Sciences and Humanities) Margherita De Michiel (University of Trieste) Kornelija Ičin (University of Belgrade) Miha Javornik (University of Ljubljana) Jurij Murašov (University of Konstanz) Blaž Podlesnik (University of Ljubljana, technical editor) Ivan Verč (University of Trieste) ISSUE COEDITED BY Jernej Habjan and Gal Kirn EDITORIAL Antonella D’Amelia (University of Salerno) ADVISORY BOARD Patrizia Deotto (University of Trieste) Nikolaj Jež (University of Ljubljana) Alenka Koron (Scientific Research Centre of the Slovenian Academy of Sciences and Arts) Đurđa Strsoglavec (University of Ljubljana) Tomo Virk (University of Ljubljana) DESIGN & LAYOUT Aljaž Vesel & Anja Delbello / AA Copyright by Authors Contents articles 9 The Yugoslav Partisan Art: Introductory Note Югославское партизанское искусство: Введение в тему ❦ Gal Kirn 18 The Partisan Symbolic Politics Партизанская символическая политика ❦ rastKo MočniK 40 The Partisans in Print Партизане в печати ❦ MiKlavž KoMelj 70 A Further Note on the Partisan Cultural Politics Дополнительная заметка о партизанской культурной политике ❦ rastKo MočniK 86 The Partisan Art Revisited Еще раз о партизанском искусстве ❦ MiKlavž KoMelj 100 Towards the Partisan Counter-archive: Poetry, Sculpture and Film on/of the People’s Liberation Struggle К партизанскому анти-архиву: поэзия, скульптура и кино в/о народно-освободительной борьбе ❦ Gal Kirn SLAVICA TERGESTINA 17 (2016) ▶ The Yugoslav Partisan Art 126 Slovenian Sociology of Literature and Slovenian National Poet: France Prešeren between the Partisans, Dissidents and Theorists Словенская социология литературы и словенский национальный поэт: Франце Прешерн между партизанами, диссидентами и теоретиками ❦ jernej Habjan REVIE Ws 148 The Return of the Partisan Art Возвращение партизанского искусства ❦ andraž jež 160 It Is About ‘Now’, Comrades. On Gal Kirn’s Partizanski prelomi Речь идет о «сейчас», товарищи. О книге Partizanski prelomi Гала Кирна ❦ boris buden 172 On the New Life of the Partisan Songs in ex-Yugoslavia О новой жизни партизанской песни в бывшей Югославии ❦ srđan atanasovsKi 178 Retracing Images after Yugoslavia Отслеживание образов после Югославии ❦ stefano PetrunGaro 7 The Yugoslav Partisan Art: Introductory Note ❦ Gal Kirn ▶ [email protected] GAL KIRN ▶ The Yugoslav Partisan Art: Introductory Note 1 After the break-up of Yugoslavia in the early 1990s, the vast major- Numerous exhibitions, books and newspaper ity of commentators, opinion leaders and social scientists of the new articles have been dedicated to the ‘dark nation-states proclaimed a final farewell to everything connected to side’ of the ‘totalitarian regime’ and even to the Yugoslav socialism. As a consequence, even the anti-fascist legacy nationalist recount- ing of the bones from of the Partisans, which had been inscribed in the official ideology of World War II. 1 the former state, received a much more negative connotation. But 2 For a good long-term already in socialist Yugoslavia the revolutionary dimension of the analysis of the rise of nationalism during Partisan culture and art was neglected whenever the (local) commu- the last years of social- ist Yugoslavia, see nist leadership decided to instrumentalise them for celebrations of Wachtel. For the rise of (post)fascism in the various anniversaries connected to the People’s Liberation Struggle cultural apparatuses of the new nation- 1941–1945. A rich network of museums, galleries and community cen- states, especially in Slovenia, see Močnik, tres across Yugoslavia was employed in the exhibition and archiving Extravagantia. of the Partisan art. However, this statist glorification of the Partisan past effectively ended long before the break-up: as Lilijana Stepančič notes, the last major exhibition of the Partisan art took place in 1981 (see Stepančič). Thus, the 1980s introduced an increasingly dominant view of the Partisan art as something belonging to a history that had been long gone, an object of ritualistic reproduction by the state, which in turn began to be viewed by many commentators as an authoritarian, even totalitarian system. In the post-Yugoslav climate of ‘historical revisionism’ (Buden; Močnik, ‘Excess’) and nationalism,2 the Partisan legacy became either a marginal refuge of the old generation, which continued to visit the ‘sacred places’ of the People’s Liberation Struggle, or else an element of the Yugonostalgia of a certain subculture of the urban youth (see Velikonja). No serious political, academic or cultural group would address the history of the Partisan art, now a spectre of the former ruling ideology. By the end of the 1990s, the Partisan art seemed to have been left on the ash heap of history. 10 SLAVICA TERGESTINA 17 (2016) ▶ The Yugoslav Partisan Art However, twenty-three years after the last exhibition and almost 3 The term archive is fifteen years after the break-up of Yugoslavia an unexpected return used here in the sense developed by Jacques to the Partisan art took place. In 2004–2005, the exhibition Partizanski Derrida. For Derrida, there is no ‘authentic’ tisk / The Partisans in Print, curated by Donovan Pavlinec and held in beginning of any ar- chive, since any begin- the International Centre of Graphic Arts (MGLC) in Ljubljana, intro- ning is always already determined by political duced a selection of Slovenian Partisan graphic art created mostly or scientific authority. Hence, the existence in the framework of an organised art initiative during the last two and continuation of the archive is linked years of World War II. The exhibition was supported by an excellent to power relations and discursive formations, catalogue which consisted of a series of archival artefacts that were as implied already by the old-Greek word put in dialogue with theoretical texts, one of which in particular trig- arché. Arché as begin- ning is linked to the gered exceptional theoretical effects. A new edition of this essay as specific space of the archive as well as to well as a series of responses are published in this volume. The core of archonts, the political body of sovereign the volume consists of the debate between Rastko Močnik, the author leaders. The latter not only guards the space of the original essay, and Miklavž Komelj, the author of a subsequent of the archive, but also interprets its meaning. seminal book on the Slovenian Partisan art; other articles either draw This is why the archive cannot be taken in a on this debate or review and build on other notable contributions to historicist and naive terms as a reservoir of the above-mentioned return to the Partisan art and culture. objective truth, or the space of ‘authenticity’, but is always already ‘infected’ by political tHe contours of tHe MočniK–KoMelj debate and discursive strug- gles. (See Derrida.) No matter which side one takes in the debate between Močnik and Komelj, one thing is certain: it is to be viewed as belonging to a series of recent processes that have made the Partisan art and culture a valid object of investigation, a recognised subject matter among artists, and even a driving inspiration for a number of cultural and political or- ganisations. In short, due to such events as this debate the Partisan art has become a ‘living archive’3 that can again be reappropriated, revisited and elaborated on. Of course, one cannot attribute this re- newed interest in the Partisan art only to such things as the debate 11 GAL KIRN ▶ The Yugoslav Partisan Art: Introductory Note 4 between Močnik and Komelj; one can, however, point to a series of Journals such as Arkzin (Zagreb), Prelom effects of such events, effects that transcend the local Slovenian scene (Belgrade) and Agregat (Ljubljana) as well as and ‘infect’ different artistic and theory scenes in the post-Yugoslav autonomous cultural centres in the region space. In retrospect, one can map out a field occupied by individuals were of vital impor- tance in terms of sus- and organisations that are starting to engage critically with the topics taining an emancipa- tory space needed for a of historical revisionism, the legacy of recent wars and the transition critical revaluation of 4 the present to emerge, to capitalism. And in this respect both the Partisan struggle in general as they managed to bring together an and the Partisan art in particular are becoming privileged points of extremely heteroge- neous generation of departure for theoretical, artistic and political critiques of the con- emerging intellectuals, activists and artists temporary ideological conjuncture. from the various ex- Yugoslav countries. The opening question of Močnik’s original essay itself concerns conditions of possibility of returning to the Partisan art. According to Močnik, with time the Partisan art was able to be viewed beyond the ruling ideology of the former state. However, while it is true that the collapse of the state has finally made the Partisan art intelligible beyond the official ideology, we should also be able to approach this art beyond the opposite ideology, the one of aestheticisation, Močnik argues, and to ascribe to the Partisan art a political dimension that is irreducible to the politics of the former state. One of the most informed attempts to escape this double bind of real-socialist politicisation and post-socialist aestheticisation in relation to the art of Slovenian Par- tisans is arguably Miklavž Komelj’s 2009 book Kako misliti partizansko umetnost? (How to Think the Partisan Art?), a text that is also one of the key theoretical effects of the Močnik–Komelj debate.