- http://www.anavujanovic.net/
Ana Vujanović
Independent Researcher, Performance Studies, Department Member
- Amsterdam School of the Arts, SNDO - School for New Dance Development, Faculty Memberadd
- Public Sphere, Performance Studies, Political Theory, Critical Theory, Aesthetics, Contemporary Dance, and 25 moreCollectivism & Individualism, Choreography, Postdramatic theatre, Performance Art, Phenomenology of the body, Sociology of the Body, Feminist Theory, The Self, Culture Studies, Art Theory and Politics, Performance, Hannah Arendt, Judith Butler, Landscape, Perspective, History of Perspective in Painting, Paolo Virno, Roberto Esposito, Walter Benjamin, Cubism, Gertrude Stein, Holocaust Studies, Dramaturgy, Jasbir Puar, and Isabelle Stengersedit
- Ana Vujanović is a freelance cultural worker in the fields of contemporary performing arts and culture: researcher, d... moreAna Vujanović is a freelance cultural worker in the fields of contemporary performing arts and culture: researcher, dramaturge, writer, lecturer.
She holds Ph.D. in Humanities (Theatre Studies).
She was a member of the editorial collective of TkH [Walking Theory], a Belgrade-based theoretical-artistic platform, and editor-in-chief of the TkH Journal for Performing Arts Theory, 2000-17. For several years a particular commitment of hers was to empower independent scenes in Belgrade and former Yugoslavia.
She has lectured at various universities and educational programs throughout Europe, was a visiting professor at the Performance Studies Dpt. of the University Hamburg. Since 2016 she has been a team member and mentor of fourth year students at SNDO – School for New Dance Development in Amsterdam.
She participates in art projects in the fields of performance, theatre, dance, and video/film, as a dramaturge and co-author. She has published a number of articles in journals and collections and authored and edited several books, most recently A Live Gathering: Performance and Politics in Contemporary Europe, with L. Piazza (Berlin: b_books, 2019). She is currently working on a documentary film Resisting Landscapes with M. Popivoda, and a long-term research project Performing the Self in the 21st Century, with B. Cvejic.edit
When speaking about the politicality of performance in today’s European context, we face a few problems that appear along the process of integration of the social imaginary proposed by performance into our ways of socialisation. First of... more
When speaking about the politicality of performance in today’s European context, we face a few problems that appear along the process of integration of the social imaginary proposed by performance into our ways of socialisation. First of all, we mustn’t neglect the fact that virtual interactions by digital technologies are ever more dominating, while the political scene is configured by the system of representative democracy. Therefore, it is a sheer fact that physical public space and live performance – on which performance in art and culture, in difference to democratic politics, still insists – are not current social paradigms; the main paradigms are representation and mediatisation. However, apart from that procedural disqualification of performance from politics, we mustn’t neglect a keen interest in performance on the part of the art world, the media, marketing and the sphere of production. In an attempt to think these two processes together, I would hypothesise that the new social role of the performance is to be a model of production instead of a model of politics. This does not mean that the performance is apolitical or politically irrelevant, but that its politicality is now usually indirect, tacit and in fact dubious, predominantly operating in the register of the ‘political unconscious’.
Reasons for that indirect and dubious politicality of the performing arts should be found in a wider socio-economic process of today’s neoliberal society. The point is that therein, politics has already been immersed in capitalist production, which is post-Fordist and post-industrial. That phenomenon has multifold causes and consequences. In order to disentangle it, in this article I unfold the twin processes of the economisation of politics and the politicisation of production.
Reasons for that indirect and dubious politicality of the performing arts should be found in a wider socio-economic process of today’s neoliberal society. The point is that therein, politics has already been immersed in capitalist production, which is post-Fordist and post-industrial. That phenomenon has multifold causes and consequences. In order to disentangle it, in this article I unfold the twin processes of the economisation of politics and the politicisation of production.
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With reference to the ongoing economic "crisis," several European and American scholars discuss the concept and politics of precarity. As their conversation shows, precarity is inextricable from our ever-shifting understandings of bodies,... more
With reference to the ongoing economic "crisis," several European and American scholars discuss the concept and politics of precarity. As their conversation shows, precarity is inextricable from our ever-shifting understandings of bodies, labor, politics, the public sphere, space, life, the human, and what it means to live with others.
The Virtual Roundtable is edited by Jasbir Puar.
The Virtual Roundtable is edited by Jasbir Puar.
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The links between politics and dance appears as one of the hot topics in the performing arts today. Before I try to answer that theme, I will think this very phenomenon, introducing some epistemic and social frameworks within which we... more
The links between politics and dance appears as one of the hot topics in the performing arts today. Before I try to answer that theme, I will think this very phenomenon, introducing some epistemic and social frameworks within which we speak and can speak about politics when speak about contemporary performance and art in general. Then I will continue with the characteristic modalities of politicality that I register on the actual international dance scene. At the very beginning I want to emphasize that my focus here won't be a particular politics of contemporary dance, but the politicality as the aspect of an artwork or art practice that addresses the ways it acts and intervenes in public sphere, in regard to discussions and conflicts around: the subjects and objects that perform in it; the arrangement of positions and powers among them; the "distribution of the sensible"; and the ideological discourses that shape a common symbolic and sensorial order of society, which affects its material structure and partitions. Therefore, I aim here neither to advocate political art, nor to divide dance performances to socio-politically engaged and l'art-pour-l'art-istic ones. Instead, I would stress an urge to reflect a broad and complex raster of politicality as an aspect that characterizes each and every performance-be it political or apolitical, resistant or complicit, transformative or servile-as a social event that is practiced in public.
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To answer the question: What does dramaturgy have to do with the landscape? I can blatantly say that if dramaturgy is about drama and landscape about pastoral idyll – nothing. However, the recent cultural history of Western world has... more
To answer the question: What does dramaturgy have to do with the landscape? I can blatantly say that if dramaturgy is about drama and landscape about pastoral idyll – nothing. However, the recent cultural history of Western world has brought deep changes in both conceptions.
Along performative and affective turns dramaturgy lost its culturally well-rooted thought, the linguistic, logocentric thought, and started regarding performance first of all as an affective and meaningful event, an expressive social situation, a shared experience, a here-and-now of human coexistence and communication. Over recent decades dramaturgical thought thus 'spaced out' and moved from a depth of logocentrism over inter-textual plateaus to a surface of environment. On that slippery terrain I identify a tendency in contemporary performing arts that I name 'landscape dramaturgy'. Here we cannot speak of traditional Western idea of landscape, which has human inhabitation as its ultimate purpose and which involves humans' interventions into the Earth's surface as the integral element. In an artistic sense, we thus cannot speak of the traditional landscape oil on canvas, where the land is staged for the viewer as 'scenery'. To carefully approach landscape dramaturgy, apart from the changed conception of dramaturgy, we should accept a new notion of landscape as the morphology of the Earth's surface, which is not a 'shoveled land'. Landscape dramaturgy is therefore a metaphor that has a strong epistemic rationale, grounded in rethinking the position of the human mind and human agency in the world.
Along performative and affective turns dramaturgy lost its culturally well-rooted thought, the linguistic, logocentric thought, and started regarding performance first of all as an affective and meaningful event, an expressive social situation, a shared experience, a here-and-now of human coexistence and communication. Over recent decades dramaturgical thought thus 'spaced out' and moved from a depth of logocentrism over inter-textual plateaus to a surface of environment. On that slippery terrain I identify a tendency in contemporary performing arts that I name 'landscape dramaturgy'. Here we cannot speak of traditional Western idea of landscape, which has human inhabitation as its ultimate purpose and which involves humans' interventions into the Earth's surface as the integral element. In an artistic sense, we thus cannot speak of the traditional landscape oil on canvas, where the land is staged for the viewer as 'scenery'. To carefully approach landscape dramaturgy, apart from the changed conception of dramaturgy, we should accept a new notion of landscape as the morphology of the Earth's surface, which is not a 'shoveled land'. Landscape dramaturgy is therefore a metaphor that has a strong epistemic rationale, grounded in rethinking the position of the human mind and human agency in the world.
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Shall we leave the institutional system of art, while striving toward critical artistic practice or try to work within that system, which requires compromises and thus weakens our criticality? Or, shall we acknowledge that art is a social... more
Shall we leave the institutional system of art, while striving toward critical artistic practice or try to work within that system, which requires compromises and thus weakens our criticality? Or, shall we acknowledge that art is a social institution from the start, whereby fatalistic “either/or” looses its relevance?
Once we accept basic postulates of the institutional theory of art, a new set of problems regarding critical artistic doing in society raises. This is the main purpose of this article, where I revisit some of the theses developed decades ago by Danto, Dickie, Wollheim, Carol and other institutional theorists mostly in the field of visual arts. However, in this article I depart from discussions on the very concept of art characteristic of analytic philosophy and, by way of visiting three scenes from Belgrade, look closer into how art as social institution operates in practice. I focus on contemporary performing arts and draw on that field to examine how “performativity“ works as a tool for an institutional analysis of art. From that perspective, I identified the following problems of artworlds as performative social institutions:
• Context (historical and social specificities): a discussion of the modes of work on the independent scene in Belgrade in 2000s and their political rationale;
• Extra-artistic aspects (which makes artworlds into heterotopias): a discussion on curating Bitef festival in the late 1960s and 70s; and
• Dynamic inner structure (where an artworld's per-formative authority depends on the responses by those involved): a discussion on the fugitive acts and extra-institutional scene that grew in Belgrade the 1990s.
Once we accept basic postulates of the institutional theory of art, a new set of problems regarding critical artistic doing in society raises. This is the main purpose of this article, where I revisit some of the theses developed decades ago by Danto, Dickie, Wollheim, Carol and other institutional theorists mostly in the field of visual arts. However, in this article I depart from discussions on the very concept of art characteristic of analytic philosophy and, by way of visiting three scenes from Belgrade, look closer into how art as social institution operates in practice. I focus on contemporary performing arts and draw on that field to examine how “performativity“ works as a tool for an institutional analysis of art. From that perspective, I identified the following problems of artworlds as performative social institutions:
• Context (historical and social specificities): a discussion of the modes of work on the independent scene in Belgrade in 2000s and their political rationale;
• Extra-artistic aspects (which makes artworlds into heterotopias): a discussion on curating Bitef festival in the late 1960s and 70s; and
• Dynamic inner structure (where an artworld's per-formative authority depends on the responses by those involved): a discussion on the fugitive acts and extra-institutional scene that grew in Belgrade the 1990s.
Research Interests:
When speaking about the proper name in our modern Western society, there is a strong claim that it is an empty designation. From my point of you – which is grounded in performance studies and shed light on the name within the process of... more
When speaking about the proper name in our modern Western society, there is a strong claim that it is an empty designation. From my point of you – which is grounded in performance studies and shed light on the name within the process of performing the self – however, the name can hardly be taken as an empty signifier just because it signifies me arbitrarily. All signifiers are arbitrary. Of course, I could have been named differently than Ana Vujanović, other people can have the same name and I can still change that name and take another one, but in this article I would like to ponder over the fact that it is my name. As such, it signifies me and is therefore not without any substance despite its arbitrary character and my elusive nature, (re)occurring in all my performances of myself. What we tend to overlook in everyday life, while it becomes the main dramaturgical problem of performing the self, is that the sliding of the name’s meaning actually reveals an ongoing struggle of the proper name to stabilize what is changeable and yet has to be fixed in order to be counted on (loved, befriended, trusted, cooperated with): individual person. The main concern of this article is that the name in our culture is thus rather a dialectic designation, whereby suggesting the dialectic of the human agent (the person) it designates.
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This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research 22:5, 2017, available at: http://www.tandfonline.com/doi/full/10.1080/13528165.2017.1383729
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This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research 22:5, 2017, available at: http://www.tandfonline.com/doi/full/10.1080/13528165.2017.1383729
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Today, dramaturgy is more than ever a vibrant artistic field, on the one hand constantly expanding and on the other, populated with various discourses and practices coming from other social and cultural spheres. Therefore, simultaneously... more
Today, dramaturgy is more than ever a vibrant artistic field, on the one hand constantly expanding and on the other, populated with various discourses and practices coming from other social and cultural spheres. Therefore, simultaneously with following how it spilled out of the drama play, theater stage, black box and even the performance in broadest artistic sense, we can follow how present day media, cinema, internet, management of labor, educational system, popular music, life styles, organization of perception and attention, as well as the financial crisis, protests, assemblies and self-organized communities that have appeared in Europe in the recent years have influenced dramaturgy. In this present article – whose scope doesn't allow me to analyze both processes in detail – I will focus on a point where these two streams intersect. There, where dramaturgy in performing arts reverberates with the surrounding context and by the same stroke invites us to think that context by observing performances, I see a tendency on contemporary European dance and performance scene(s) that I name 'landscape dramaturgy'.
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This paper / article presents a brief discussion on contemporary ‘artists citizens’. It will examine the public life, and the political activity in particular (vita activa), of the critical cultural worker in neoliberal capitalist... more
This paper / article presents a brief discussion on contemporary ‘artists citizens’. It will examine the public life, and the political activity in particular (vita activa), of the critical cultural worker in neoliberal capitalist society. Here, a critical cultural worker – theoretician, artist, curator, journal editor, cultural producer, etc. –means the one who wants and tries to be political. Through discussing her dubious politicality, I aim here to unpack a tension between the work and the politics in today’s society. In addition, assuming that most citizens today are workers themselves I would propose a few thoughts on what the politics today could be and how it could look like once we recognize its classical definition as socially and historically inadequate.
Keywords: cultural worker, labor, politics, politicality, vita activa, precarization, Post-Fordism, knowledge production, complicity, community
Keywords: cultural worker, labor, politics, politicality, vita activa, precarization, Post-Fordism, knowledge production, complicity, community
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An essay on hierarchization in global circulation of knowledge in art and culture, analyzing why the term 'second-hand knowledge' persistently retains negative connotations while it has been embraced as a poetic term in Yugoslav cultural... more
An essay on hierarchization in global circulation of knowledge in art and culture, analyzing why the term 'second-hand knowledge' persistently retains negative connotations while it has been embraced as a poetic term in Yugoslav cultural space with certain ease and even humor. One of the central thesis is that it is the value-laden dichotomy 'firsthand - second-hand knowledge' that geographically draws the center of global knowledge production, whereby mirroring economic and political hierarchization of the global world.
Key words: second-hand knowledge, knowledge production, Yugoslav cultural space, politics of knowledge production, cognitive authority
Key words: second-hand knowledge, knowledge production, Yugoslav cultural space, politics of knowledge production, cognitive authority
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My interest in "walking theory" initially came from an education in art and humanities, which taught us that art was an intimate activity of the artist-genius who creates directly from his guts, while theory was an abstract speculation,... more
My interest in "walking theory" initially came from an education in art and humanities, which taught us that art was an intimate activity of the artist-genius who creates directly from his guts, while theory was an abstract speculation, which, if you let it come closer, it can castrate artistic freedom. Paradoxically, all this was promoted in Belgrade in the 1990s, in the context of the civil wars in former Yugoslavia, the international sanctions, the regime of Slobodan Milošević, and the transition from socialism to capitalism. Probably that striking paradox between the devastating and demanding social processes and a romantic vision of art as a transcendental creation made it obvious to me that the mainstream ideology of art was merely to maintain the social status quo by cultivating artists and theorists disinterested in the social-political implications of their work as well as in the social-political background already integrated in it...
Keywords: walking theory, theoretical practice, critical theory, performance studies, performance, teorija koja hoda
Keywords: walking theory, theoretical practice, critical theory, performance studies, performance, teorija koja hoda
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It was around 10 P.M. when I arrived. I found her in one of her temporary apartments. A spacious living and dinning room, almost empty, with wooden floors and big windows, curtains wide open. It was in a small, three story building facing... more
It was around 10 P.M. when I arrived. I found her in one of her temporary apartments. A spacious living and dinning room, almost empty, with wooden floors and big windows, curtains wide open. It was in a small, three story building facing Westerpark, in Amsterdam. She made tea and at first looked willing to talk, but when she sat at the table she briefly glanced at the computer screen and then turned her head and looked towards the glass door of the balcony… I saw her withdrawing into herself like a candle in the dark… She sucked the whole energy of the room. Soon after that thought— or was it a feeling? — had arisen, I saw it leave me, and before it was immersed in the energy flow, the feeling-thought turned back, grabbed me by the hand and took me outside of myself. Now externalized, I was observing that wild woman with clear thoughts, who has been ready to abandon them whenever she was asked the right question. I hovered between her and myself. The screen lightened her profile. It didn’t say much. She was perfectly calm and only her eyes were moving rapidly as if she were reading or dreaming. I was under the impression she had forgotten that I was there, and it was not easy to break the silence in which she apparently felt comfortable. But I promised Mårten Spångberg that I would write 15 pages about post-dance and I knew I couldn’t do it without her. So… well, fuck it.
Keywords: contemporary dance, post-dance, feminist theory, poiesis, cognition, affects, knowledge
Keywords: contemporary dance, post-dance, feminist theory, poiesis, cognition, affects, knowledge
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The last and least discussed crisis we recognize today – after the crisis of democracy, the financial crisis, the environmental crisis, the crisis in education etc. … is the crisis of the social imaginary. Perhaps the social imaginary... more
The last and least discussed crisis we recognize today – after the crisis of democracy, the financial crisis, the environmental crisis, the crisis in education etc. … is the crisis of the social imaginary. Perhaps the social imaginary doesn't appear in public debates to be at all in decline, because we haven't been aware of having (or losing) it….
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The choreography in “And then” involves inscriptions of all sorts. That is to say, the choreography as an inscription of movement cannot be reduced to text only — although it is to a considerable degree a text — nor does it only include... more
The choreography in “And then” involves inscriptions of all sorts. That is to say, the choreography as an inscription of movement cannot be reduced to text only — although it is to a considerable degree a text — nor does it only include dancing (and it is least of all dancing), but it is also the speech as a soundtrack, the filmed interviews, the camera angles and movements, the lighting on stage, the dispositif of the screen-stage, the performing modes… However, choreography here relates to, but at the same time cannot be reduced to, the inscription of these various elements themselves. The choreography here is the inscription of differences, shifts, and the movements between them. Understood this way, choreography is carried out as a plot-directorial treatment of autobiographies, which deliver singular hypothetical homonymous subjects (Eszters Salamons) in the net of their differences…
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Attending Natten was similar to travelling by the night train, in a compartment with a stranger. Travelling the whole night… to Istanbul, let’s say. And during the travel, my co-traveller would sometimes address me. Sometimes, I would... more
Attending Natten was similar to travelling by the night train, in a compartment with a stranger. Travelling the whole night… to Istanbul, let’s say. And during the travel, my co-traveller would sometimes address me. Sometimes, I would reply. In some moments we would talk. Then, since we don’t have much to share, the conversation would fade out… And he would take a nap. I would observe him. I would notice rapid movements of his eyes, and start speculating on his life, his history, his dreams… Gradually, he would become less strange to me. ... As the night is rolling and the time passing is growing bigger and we stop dividing it, he would become more than an accidental anonymous fellow-traveller to me, a kind of “sputnik”, with the connotation of Slavic languages given to that word. Sputnik (sputnjik or saputnik), in Russian, Polish, or Serbo-Croatian adds something to the fellow with whom I travel. (You can call it a (false) promise, but it can well be ontologically new.) She or he is a companion, and could even be a life companion, a life partner, the one who travels with you through life. Travelling together with a sputnik erodes the borders between you and her as autonomous and self-indulgent individuals, not in terms of fusing you in one harmonious being, but in terms of bringing about the life as the third entity in your journey. The entity around which you become sputniks to each other. And about which you start to take care, together.
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The political theorist Isabell Lorey has appeared as one of the most striking European voices in the recent debate on precarity and precarization in neoliberalism. Her theoretical discourse draws from the referential frameworks of... more
The political theorist Isabell Lorey has appeared as one of the most striking European voices in the recent debate on precarity and precarization in neoliberalism. Her theoretical discourse draws from the referential frameworks of political and biopolitical theory, feminism, gender and postcolonial studies, as well as of recent social and political movements, such as Euromayday, Occupy and 15-M. This invigorating and politically sharp intersection has created a potent critical platform for analyzing representative democracy, biopolitical governmentality, immunization, and precarization, which belong to Lorey's main concerns.
State of Insecurity: Government of the Precarious is the translation of Lorey's book Die Regierung der Prekären (2012) and is her first book appearing in English.
/// Keywords: precarity, freedom, security, insecurity, immunity, precarization, precarious
State of Insecurity: Government of the Precarious is the translation of Lorey's book Die Regierung der Prekären (2012) and is her first book appearing in English.
/// Keywords: precarity, freedom, security, insecurity, immunity, precarization, precarious
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This analysis of contemporary dance in Serbia is also an attempt to raise the question: Who has the right to contemporaneity? Namely, as contemporary dance is a new phenomenon in Serbia, there are two harsh theses that I would put forward... more
This analysis of contemporary dance in Serbia is also an attempt to raise the question: Who has the right to contemporaneity? Namely, as contemporary dance is a new phenomenon in Serbia, there are two harsh theses that I would put forward as starting points. First, as there is no local contemporary dance history, there is no need to follow the diachronic traces of the present scene; and, second, what is currently considered as contemporary dance in Serbia is contemporary Western dance. Yet, that scene seems to be not-quite-Western though it is not-right-Eastern either. Presenting it in its full complexity may help us not only to understand that particular art scene better, but also to recognize how wider streams of power, money, and administrative regulation define contemporary art in today’s global world.
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Scena savremenog plesa u Srbiji se uspostavlja tokom 2000ih godina. To ne znači da ranije u Srbiji nije postojao ples, pa ni da nije postojao ples koji teži da bude savremen svom trenutku i kontekstu. Međutim, termin "savremeni ples“... more
Scena savremenog plesa u Srbiji se uspostavlja tokom 2000ih godina. To ne znači da ranije u Srbiji nije postojao ples, pa ni da nije postojao ples koji teži da bude savremen svom trenutku i kontekstu. Međutim, termin "savremeni ples“ ulazi u upotrebu naročito krajem 1990ih i početkom 2000ih godina, isto kada počinje da se formira i onaj kompleksni umetničko-teorijsko-organizacioni sistem koji nazivamo "scenom"...
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Krajem 20. i početkom 21. veka u Srbiji dolazi do intenzivnog razvoja savremene dramske književnosti. Taj zamah je istorijski i poetički započet dramama Biljane Srbljanović u drugoj polovini 1990ih, a zatim Milene Marković od 2000.... more
Krajem 20. i početkom 21. veka u Srbiji dolazi do intenzivnog razvoja savremene dramske književnosti. Taj zamah je istorijski i poetički započet dramama Biljane Srbljanović u drugoj polovini 1990ih, a zatim Milene Marković od 2000. godine, da bi se u prvoj polovini 2000ih godina nastavio kroz masovniju dramsku praksu sa nazivom Nova drama, koja okuplja pisce najnovije generacije.
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U ovom tekstu usredsrediću se na one aspekte alternativnog teatra – i, šire, izvođačkih umetnosti – u Beogradu i Srbiji tokom poslednje decenije dvadesetog veka koji se tiču, za njegovo razumevanje možda najvažnijeg, odnosa "etike i... more
U ovom tekstu usredsrediću se na one aspekte alternativnog teatra – i, šire, izvođačkih umetnosti – u Beogradu i Srbiji tokom poslednje decenije dvadesetog veka koji se tiču, za njegovo razumevanje možda najvažnijeg, odnosa "etike i estetike". Alternativni teatar je kao vaninstitucionalna praksa bio direktnije eksponiran i aktivnije uključen u tada brojna i radikalna društvena zbivanja, nego instutucionalno pozorište koje je inertnije i po definiciji nastoji da zadrži status quo očuvanjem postojećih društvenih, kulturnih i umetničkih paradigmi. Na to je ukazivalo i nekoliko prominentnih lokalnih teoretičarki, kao što su Milena Dragićević-Šešić, Aleksandra Jovićević i Dubravka Knežević, koje su kritikovale institucionalna pozorišta u devedesetim zbog njihove "lagodne" pozicije i eskapizma.
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Različiti oblici umetničkog performansa (hepeninzi, akcije, događaji, body art i performans art u užem smislu) u Srbiji nastajali su u širokom i disperzivnom vremenskom rasponu i vezani za različite umetničke paradigme. U tom okviru... more
Različiti oblici umetničkog performansa (hepeninzi, akcije, događaji, body art i performans art u užem smislu) u Srbiji nastajali su u širokom i disperzivnom vremenskom rasponu i vezani za različite umetničke paradigme. U tom okviru možemo posmatrati: zenitističke večernje i dadaističke manifestacije tokom 1920ih godina u Subotici, Novom Sadu i Beogradu, zatim, neoavangardne izvođačke prakse, tj. višemedijske performanse Vladana Radovanovića od sredine 1950ih, pa do neoavangardne scene 1960ih. Ipak, tek tokom 1970ih godina, u okviru konceptualne umetnosti dolazi do snažnoj razvoja umetnosti performansa, pre svega u oblasti vizuelnih umetnosti. U tom periodu, deluje veliki broj umetnika i grupa i nastaje mnoštvo radova, koji se tada i definišu i samodefinišu kao „umetnost performansa“.
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U posleratnoj istoriji evropskog avangardnog teatra, Beograd je od 1970ih godina bio smatran kanonskim mestom – između ostalog zbog Bitefa, koji je, počev od 1967. godine bio jedan od najznačajnijih eksperimentalnih prostora međunarodne... more
U posleratnoj istoriji evropskog avangardnog teatra, Beograd je od 1970ih godina bio smatran kanonskim mestom – između ostalog zbog Bitefa, koji je, počev od 1967. godine bio jedan od najznačajnijih eksperimentalnih prostora međunarodne scene. ... Sredinom 70ih godina, Jugoslavija je bila pozorišna meka, laboratorija kasnomodernističke arhitekture, tačka kristalizacije neortodoksnog marksizma i jedan od internacionalno najumreženijih punktova avangardne umetnosti u Evropi. (Georg Schöllhammer)
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U poslednjem istorijskom prikazu koji ovde objavljujem, bavim se avangardnim teatrom i izvođačkim umetnostima u Srbiji 1920ih godina. Iako su prvi avangardni umetnički eksperimenti zabeleženi još 1910ih, brojne i raznovrsne umetničke... more
U poslednjem istorijskom prikazu koji ovde objavljujem, bavim se avangardnim teatrom i izvođačkim umetnostima u Srbiji 1920ih godina. Iako su prvi avangardni umetnički eksperimenti zabeleženi još 1910ih, brojne i raznovrsne umetničke prakse realizuju se dvadesetih i tridesetih godina pod direktnim uticajem i u saradnji sa futurističkim, dadaističkim i nadrealističkim internacionalnim pokretima, kao i kroz zenitizam, kao svojevrsnu lokalno specifičnu kombinaciju avangardnih tendencija na evrospkoj sceni. Prema Irini Subotić, avangardni pokreti u Srbiji i Jugoslaviji bili su ekspresivne pojave tadašnjeg društveno-političkog trenutka, u kojem se s jedne strane težilo pripadnosti evropskom prostoru, a sa druge suprotstavljanju građanskim institucijama koje su negovale umereni modernizam i često nekritički prihvatale uzore bečkog, minhenskog i kasnije pariskog kulturnog miljea.
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The main question we raise with this book is how performance can be political in present day European representative democracy, a system which no longer draws on the live gathering of people. Several leading European (mostly female)... more
The main question we raise with this book is how performance can be political in present day European representative democracy, a system which no longer draws on the live gathering of people.
Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.
ISBN 978-3-942214-29-2
Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.
ISBN 978-3-942214-29-2
Research Interests: Political Participation, Political Theory, Performance Studies, Postdramatic theatre, Contemporary Art, and 15 morePerformance Art, Collective Action, Choreography, Politics, The Body, Civil Society and the Public Sphere, Social Activism, Public Sphere, Immaterial Labour, Democracy, Modern and Contemporary Dance, Temporality, Protest Movements, Participatory and Relational Arts, and Artivism
The publication edited by Aldo Milohnic and Ana Vujanovic deals with one of the most important topics in contemporary performing arts – the relationship between performance and politics. The discussion includes questions such as the... more
The publication edited by Aldo Milohnic and Ana Vujanovic deals with one of the most important topics in contemporary performing arts – the relationship between performance and politics. The discussion includes questions such as the following: What is the meaning of these notions nowadays and how are they (dis)connected? Why is there such a preoccupation with the political in the performing arts today? Might it merely be an alibi concocted to secure the support of public funds? Maybe it is a desperate attempt to be recognised as a socially relevant practice? Or is it just the neo-liberal capitalist state of affairs, which blurs the borders between different social practices and where some old questions – such as how we practise politics and where politics is located today – are still waiting for an answer? With this issue of TkH journal we want to provoke thinking from different angles and to offer answers to a rather simple and direct but challenging question: what is the political scope of performance in the current, neo-liberal capitalist and democratic social context?
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The publication edited by Bojana Cvejic and Ana Vujanovic deals with the "social choreography" both as a theoretical notion and artistic tool. As a theoretical notion proposed by the literary scholar Andrew Hewitt, it refers to embodiment... more
The publication edited by Bojana Cvejic and Ana Vujanovic deals with the "social choreography" both as a theoretical notion and artistic tool. As a theoretical notion proposed by the literary scholar Andrew Hewitt, it refers to embodiment as the mechanism of ideology, replacing discursive interpellation and claiming that ideology operates as the performance of an embodied ritual, without any belief involved. In parallel, a number of choreographers and artists use the term “social choreography” to describe their practices or political concerns. Moreover, in the past few years we have witnessed how that term has come to stand for a dance equivalent of community, socially engaged, and participatory art.
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The publication edited by Bojana Cvejić, Bojana Kunst and Stefan Hölscher follows the conference "The Public Commons and the Undercommons of Art, Education, and Labor", which was hosted by the institute for Applied Theater Studies (Justus... more
The publication edited by Bojana Cvejić, Bojana Kunst and Stefan Hölscher follows the conference "The Public Commons and the Undercommons of Art, Education, and Labor", which was hosted by the institute for Applied Theater Studies (Justus Liebig University, Gießen) between May 29 and June 1, 2014. It was organized in collaboration with the Hessian Theatre Academy (HTA), the East European Performing Arts Platform (EEPAP), the Create to Connect Network (CTC), Frankfurt LAB (the conference venue), and supported by Deutsche Forschungsgemeinschaft (DfG).