포스트-유고슬라비아 미술문화의 특징과 정치적 재현성 연구

Abstract

The Post-Yugoslav conceptual art derived from the alternative artistic movements(Nova umjetnička praksa, Nove tendencije) in the mid-to-late culture of SFRY with the great support of the Student culture centers established in the main cities of the country. It was in line with the scepticism about the ideal of socialist self-management and the official ideologies promulgated by the state, the dissatisfaction with the shortage of cultural wealth, the criticism of the bureaucracy, and the demands of more freedom of speech and expression in the 1960s and 70s of the Second Yugoslavia that the conceptual art became acknowledged by the Yugoslav art scene. The conceptual artists from the ex-Yugoslav area have conveyed the various political messages since the disintegration of SFRY. Raša Todosijević, one of the pioneers of the conceptual art in Yugoslavia in the 1970s, has constantly displayed satirical cynicism about the nationalistic totalitarianism that replaced the Yugoslavism in the sequential civil wars after the collapse of the federal state. Another post-Yugoslav conceptual artist Bálint Szombathy has expressed the mournful and absurd nostalgic feelings for ex-Yugoslavia, and showed the lives full of ironies of his fellow countrymen, who were forcibly deprived of their own historical memories and socio-cultural identities only to be pushed into the global wave in post-socialist times. Mladen Stilinović, the ex-Yugoslav and Croatian artist who has been known in the West art scene since the 1980s, has demonstrated his peculiar works that emphasize the protest against the wave of neoliberal capitalism and the commercialization of artworks in the ‘english-dominated art world’, and express the criticism of the western dominance over the arts from the ex-Eastern bloc. Lastly, there exists the case of the world-renowned artist Marina Abramović, who started her career with the experimental art activities at the Student culture center in Belgrade from the early 1970s and thereafter has contributed to the widening of the boundary of the Yugoslav conceptual art tradition with her art pieces performed abroad with the subject matter of Yugoslav and Balkan histories and myths on the universal themes of humanity such as fear, pain, violence and love. The conceptual art that was born in the real socialist Yugoslavia and has continued to exist in post-socialist times displays a uniqueness different from its contemporary counterpart of the West art scene on the basis of both its own “non-alibi in being”(in Mikhail Bakhtin’s terms) and the distinctive ‘composition’(in Markus Gabriel’s terms).