Format:
XLII, 546 Seiten
,
27 cm
ISBN:
9780262029957
Content:
In 1984, three groups of artists in post-Tito Yugoslavia—the music and multimedia group Laibach, the visual arts group Irwin, and the theater group Scipion Nasice Sisters Theater—came together to form the Neue Slowenische Kunst (NSK) art collective. Adopting the symbols, codes, appearances, and discourses of fascism, nationalism, state power, socialist-realist, and avant-garde art, and pushing the strategies of overidentification and subversive affirmation to their limits, NSK exposed the common foundations of various regimes, systems, and ideologies, while affirming that "art and totalitarianism are not mutually exclusive." Employing music, video, film, exhibitions, writing, graphic design, architecture, theater, and public relations to probe the aesthetic possibilities of declining socialism and proliferating capitalism, NSK introduced an idiosyncratic version of postmodernism (the Retro-Avant-Garde) into the globalizing cultural sphere. Combining primary documents, period artifacts, critical essays, and contextual notes, NSK from Kapital to Capital documents NSK’s collective practice during the final decade of Yugoslavia—from the first (and banned) Laibach concert (1980) in a small proletarian mining town in Slovenia to the series of projects launched by individual NSK groups entitled Kapital (1991-92). This illuminating chronicle of NSK’s work and its reception is produced in conjunction with the first major museum exhibition devoted to NSK. Designed by Novi Kolektivizem (New Collectivism), the graphic design section of NSK, the cover of each individual copy of the book is printed with a custom detail; no two covers exactly are the same.
Note:
1 Initiation: The Early 1980s and the Emergence of the NSK Groups〈br〉 Darko Štrajn, Black -and -White Shock in Trbovlje〈br〉 Goran Đorđević, A Letter to the Theoria Editorial Board〈br〉 Dušan Mandič, Harbingers of the Apocalypse: An Exhibition of Works by Belgrade Artist Goran Đorđević〈br〉 Slavoj Žižek, History and Repetition: How "Truth Arises Out of Misrecognition"〈br〉 Mladen Dolar, Fascism through Psychoanalysis〈br〉 Taras Kermauner, X + (–) 11 = ?〈br〉 Tone Peršak, The Retrogarde as Alternative Avant-Garde?〈br〉 Marina Gržinić, Graffiti as a Subversion of Slovenian Cultural Space〈br〉 Slavoj Žižek, Ideology, Cynicism, Punk
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2 Formative Stage: From Neue Slowenische Kunst (1984) to NSK State in Time (1992)〈br〉 Željko Kipke, Organic Eclectics〈br〉 Rastko Močnik, Postmodernism and the Alternative〈br〉 Marina Gržinić, Was ist Kunst〈br〉 Dimitrij Rupel, Retrogardism〈br〉 Jaša L. Zlobec, A Sterile Baptism in a Hollow Temple〈br〉 Lev Kreft, Avant-Garde, Retro-Garde and Progress〈br〉 Mladen Dolar, Psychoanalysis in Power: On Fascism, Marxism and the Poster Scandal〈br〉 Slavoj Žižek, A Letter from Afar〈br〉 Tomaž Mastnak, On the Soul of Social Movements: A Few Remarks from Up Close on Žižek’s Letter from Afar〈br〉 Chrissie Iles, Perpetual Present〈br〉 Boris Groys, The IRWIN Group: More Total Than Totalitarianism〈br〉 Stojan Pelko, Dragan Živadinov – Noordung Prayer Machine
,
3 Codification: Selected Critical Essays on NSK during Its First Decade〈br〉Marina Gržinić, Neue Slowenische Kunst (NSK): The Art Groups Laibach, IRWIN, and Noordung〈br〉 Cosmokinetical Theatre Cabinet-New Strategies in the Nineties〈br〉Slavoj Žižek, Why Are Laibach and NSK not Fascists?〈br〉Slavoj Žižek, The Enlightenment in Laibach〈br〉Lilijana Stepančič, The Poster Scandal: New Collectivism and the 1987 Youth Day〈br〉 Inke Arns, Mobile States/Shifting Borders/Moving Entities: The Slovenian Artists’ Collective Neue Slowenische Kunst (NSK)〈br〉 Eda Čufer, Athletics of the Eye: Baptism and the Problem of Writing and Reading Contemporary Performance〈br〉Alexei Monroe, Was ist Kunst?〈br〉Inke Arns & Sylvia Sasse, Subversive Affirmation: On Mimesis as a Strategy of Resistance
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4 Historicization: Art- Historical and Intercultural Contextualization from a Contemporary Perspective〈br〉 Tomaž Mastnak, Civil Society and Fascism〈br〉 Igor Vidmar, In the Name of Idea: The Birth of Action from the Spirit of Music〈br〉 Barbara Borčić, The ŠKUC Gallery, Alternative Culture, and Neue Slowenische Kunst in the 1980s〈br〉 Catherine Wood, Back to USA, Replayed〈br〉 Stevphen Shukaitis, Icons of Futures Past: IRWIN, Neue Slowenische Kunst, and the Spiritual Politics of Artistic Provocation〈br〉 Bojan Anđelković, The Genealogy of the Spectator’s View in the Dragan Živadinov Theatre〈br〉 Katja Praznik, Ideological Subversion vs. Cultural Policy of Late Socialism: The Case of the Scipion Nasice Sisters Theatre (SNST) Jela Krečič, Manifestos and Programmes〈br〉 Dejan Kršić, Fragments on the Matter of New Collectivism〈br〉 Dominic Boyer & Alexei Yurchak, American Stiob: Or, What Late-Socialist Aesthetics of Parody Reveal about Contemporary Political Culture in the West〈br〉 Gediminas Gasparavičius, Promises and Premises of Art as a State: NSK Embassy Moscow and its Contexts〈br〉 Rastko Močnik, East!〈br〉 Daniel R. Quiles, S(h)ifters: Over-identification in Latin America, 1966–1989〈br〉 Anthony Gardner, Neue Slowenische Kunst 1984–1992: From the Critique of Institutions to the Pursuit of Independence〈br〉 Mladen Dolar, State of the Art〈br〉〈br〉 Primary documents
Language:
English
Subjects:
Art History
Keywords:
Neue Slowenische Kunst
;
Laibach
;
Geschichte 1980-1992
;
Ausstellungskatalog
;
Ausstellungskatalog
;
Konferenzschrift
URL:
Register // Gemischte Register
Author information:
Badovinac, Zdenka 1958-
Author information:
Gardner, Anthony 1976-
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