Abstract
By comparing the dominant media and academic readings of the visual archive of Yugoslav non-aligned internationalism with the interpretations of the corresponding visual archive of the Bandung Conference, I reflect on the impossibility of recognizing the futurity, solidarity, and alternative modernity in the photographs depicting Yugoslav international encounters in the context of the Non-Aligned Movement. I outline a number of reasons for this impossibility, some of which are related to the nature of photography itself, while the others are shaped by the specific temporality of post-Yugoslav post-socialism and the limits that this temporality imposes on political subjects, their imagination, and aspirations.
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