10 articles tagged with yugoslavia were found.
This essay takes the novel The Museum of Unconditional Surrender by Dubravka Ugrešić as a starting point for a discussion of why the notion of a post-Yugoslav or post-communist cultural memory seems to be a contradiction in terms. The manifest impossibility of forming a collective post-Yugoslav memory provokes a reflection on how cultural and collective memory has been used in post-communist Eastern Europe to historify the communist past, which further has served the revival of a nationalist agenda. Ugrešić offers a counter memory, if we understand the term from Foucault as something that escapes the forming of identities. Finally, I suggest the notion of negative memory, as introduced by Reinhardt Koselleck, as a more apposite term for approaching memory in the post-communist sphere and in the unfolding catastrophes of the modern world.
Essay by
Tora Lane
December 11, 2023
Partisan and decolonial ecology is a notion addressed by Andreas Malm and Malcom Ferdinand respectively, in their texts on the Caribbean maroon partisans – the emancipated slaves – who moved to the more mountainous parts of the islands that were still covered by dense vegetation. This concept is here taken to another historical context, that of Yugoslav partisans’ fight against the fascist occupation in the Second World War. I engage in reading an array of partisan artworks that point to fascist domination/war over nature juxtaposed to emerging solidarity among humans and animals/nature. From poems and short stories to drawings and graphic art material, the subject matter of forest as a site of resistance and political subjectivity emerges. Diverse animals, pack of wolves, birds that continue to sing despite the thorny branches, the figure of the snail as the affect and attitude of resilience – these become “comrades” in the struggle, mobilizing nature in their fight against fascism.
Essay by
Gal Kirn
December 11, 2023
The study of monuments tends to focus on human agency, in the form of political history, war history, antagonism, trauma and so on. Aesthetic qualities are often seen as superficial and fetishized qualities that belie the impact of the monument in a regional context. The rurally situated monuments of former Yugoslavia, however, must be seen through their extraordinary qualities as works of art, carrying an agency of their own. Rather than restricting the meaning of their impact, their aesthetic qualities and impact in the environment allow them to speak to us today from a new horizon.
Essay by
Cecilia Sjöholm
December 11, 2023
This special section in Baltic Worlds is the result of a workshop engaging with the politics of aesthetic historicizations, through the grid of the monument.
By
Cecilia Sjöholm
December 11, 2023
The island of Brijuni, just off the Adriatic coast of Croatia, hosts a museum celebrating Tito’s presence on the island. An exhibition presents Tito's international engagement with approximately 200 images. The exhibition covers almost all the years of his rule of Yugoslavia. This raises several questions, one is: If a democracy hosts a museum for a dictator, should we be concerned?
By
Hans Gutbrod
October 18, 2022
A conversation with Nemanja Radulović on esotericism and New Age in communist Yugoslavia, and alternative and occult expressions and thinking.
By
Anna Tessmann
January 24, 2022
In 1949–1950, the Yugoslavian Chamber of Commerce commissioned architects Vjenceslav Richter (1917–2002) and Zvonimir Radić (1921–85) together with artists Ivan Picelj (1924–2011) and Alexandar Srnec (1924–2010) to shape several pavilions at various international trade fairs; in Stockholm twice. This text departs from a rich photographic documentation of the 1950 fair, discussing how and why Yugoslavia turned to modernism, why the artists shaped the pavilion the way they did, how it was received in Sweden. It also places the pavilion in a political context. As Yugoslavia was expelled from the Eastern Bloc in 1948, it had to find new alliances. The turn to modernism could be seen as a sign of this, but such reading also risks diminishing the role of modernism, leaving it as something that belongs to the liberal democracies in the West. The text argues against such narrow reading. It also discusses the role art history has played in forming a quite stereotype image of modernism and finally, it uses Roland Barthes “myth” as a way of looking at modernism from a multiple perspective.
By
Håkan Nilsson
October 8, 2020
This article discusses Yugoslavia’s ethnic and Romani policies and the activities for maintaining common cultural practices among Romani writers and activists after the dissolution of the federation as a political entity, and it examines literary activities and narratives related to Yugoslav topics and the way in which they sustain and demonstrate Romani (post-)Yugoslav belonging. The article argues that a sense of Yugoslav belonging and cooperation has been maintained among Romani writers and activists with explicitly positive references to the legacies of Yugoslavia. These tendencies contrast with the official post-Yugoslav political discourse among the rest of the ethnic and national communities’ leaderships, which have been to a great extent built on criticizing Yugoslav policies and ideologies.
By
Sofiya Zahova
September 6, 2018
Spomeniks are monuments commemorating the World War II dot the landscape: gigantic futuristic creations that in some cases have been spared destruction.
By
Sara Bergfors
January 16, 2012
Drakulić claims that top-down governance, which - she argues - started the war, is also the path to reconciliation in the region: Without the whipping up of nationalist emotions, purposefully and with the political will to do so, it would not be possible to start wars. It is only logical, then, that addressing people’s emotions is equally important as a way out of nationalism.
By
Slavenka Drakulic
May 13, 2011
Issue 2024, 4: 
Baltic Worlds covers; the Baltic Sea Region, Eastern Europe, Russia, CentralAsia, Caucasus and the Balkan area.