Abstract
The paper focuses on the notion of punk understood as a political position and as a strategy by the actors of the Ljubljana alternative scene in the 1980s. With exposing the minor, invisible and hidden subjectivities the actors and agents of the scene created a ground for experimentation with subjectivities, but also for shaking the Yugoslav Grand National narrative of ‘brotherhood and unity’.
 I am emphasizing mainly the notion of the body with and through the code of sex and sexuality, being still a base and the core investment of the government. No matter that the discourse has been radically changed, the procedures and protocols of power investments in their core have not. This is an additional reason and a need to recall the past and tackle the bodies that have appeared as unwanted, as ‘not right and not quiet’ identities in the past in order to evaluate and compare the position of the marginalized and suppressed today. Additionally, I am claiming that only with creating different genealogies can we fight against growing ‘intellectual redundancy’ and the continuous process of erasure of the subjectivities, which we are confronting today.
 
 Article received: June 2, 2017; Article accepted: June 12, 2017; Published online: October 15, 2017; Original scholarly paper
 How to cite this article: Založnik, Jasmina. "Punk as a Strategy for Body Politicization in the Ljubljana Alternative Scene of the 1980s." AM Journal of Art and Media Studies 14 (2017): 145-156. doi: 10.25038/am.v0i14.217
Highlights
The paper focuses on the notion of punk understood as a political position and as a strategy by the actors of the Ljubljana alternative scene in the 1980s
The focus of this paper is a set of artistic practices that appeared in the Ljubljana alternative scene of the 1980s that was the most widespread cultural movement until that time in Slovenia, cultivating cultural and social activities that were met with an enthusiastic response.[1]
I will refer to them as Punk and its metamorphoses, since the phenomenon of punk was important for the development of the music scene; its main significance lies in wider cultural, social and political changes that unfolded in Slovenia during the decade
Summary
The focus of this paper is a set of artistic practices that appeared in the Ljubljana alternative scene of the 1980s that was the most widespread cultural movement until that time in Slovenia, cultivating cultural and social activities that were met with an enthusiastic response.[1]. In comparison to the West, installing pornography into picture, video-works and performances was a way to integrate art into Western currents of the New Image, surpassing it and at the same time turning it into a constitutive field of ideology.[27] In addition, the usage of pornography and ‘obscenity’ was since the beginning understood as a political action, which had to transmit to everyday life in order to give visibility to the ‘not right and not quiet’ identities in society.[28] It is impossible to overlook the initiation, huge support and the active participation of the actors of FV 112/15, the members of Borghesia and The Borders of Control Nb. 4 together with some other individuals in the gay scene coming out in 1984, which is marked by the festival Magnus: Homosexuality and Culture[29] (April, 1984), a first edition of what is today known as the oldest European LGBT film festival. We can speak of a specific ‘coming out’ of the LGBT community already two years before, appearing in disturbing aesthetics intertwined with the code of sex and sexuality at the end of 1982 in the Disco FV30 in the first video art work of The Borders of Control Nb. 431 The Icons of Glamour – Echoes of Death and was followed by a graffiti artwork with four homosexuals engaged in a sexual act, based on the photo published in Art Press
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