New Media Department Faculty of Fine Arts

Transatlanskim dijalogom se označava trenutak promene epistemološke paradigme unutar politički i kulturalno hegemonih, internacionalnih, modernističkih hermeneutika, evocirane uspostavljanjem kritičkog polja debate između evropskog (Paris i London) i američkog (New York) "sveta umetnosti" 90 tokom pedesetih i šezdesetih godina dvadesetog veka. Premda implikacije ove kulturalne promene ostaju maglovite za mnoge njene protagoniste u Evropi, sve do kasnih pedesetih godina, kako zapaža britanski teoretičar, istoričar i kritičar umetnosti Čarls Herison (Charles Harrison, 1942-2009, centar njenog zbivanja i kretanja se tokom četvrte decenije prošlog veka geopolitički pomera iz Pariza prema Njujorku. Dve su problemske teorijsko-ideološke perspektive istovremeno bile prisutne i bitne za razumevanje ovog epistemološkog i geopolitičkog, kulturalnog pomeranja u kontradiktornoj, internacionalnoj, modernističkoj kulturi nakon Drugog svetskog rata: 91 1. Prema pristupu tradicionalne, modernističke, formalističkoistoricističke kritike američki "svet umetnosti" je našao svoje ohrabrenje u pretpostavci da je napravio pomak od već iscrpljene, tradicionalne, mimetičke estetike u cilju postizanja i negovanja aspiracija, standarda i kvaliteta zamisli autonomije umetnosti. Kritički potencijal ovog aspekta recepcije leži u njegovom prepoznavanju relativne autonomije umetnosti.

The aim of this text is to explore the anti-essentialist orientation of the motif of heterology positing in the theoretical, post-Marxist discourse of the American journal October, dedicated to the contemporary theory and politics of art, art criticism, and the (visual) arts. By applying and interpreting the terminological apparatus of Georges Bataille (1897-1962), directed at a Marxistmaterialist analysis of the theoretical implications of heterology, this text aims at offering a critique of hermeneutical power, of the hegemonic, normative, and Western modernism and postmodernism. The leading hypothesis is that the motif of positing of Bataille’s (anti-)philosophical terminological framework in the October project can be traced back to the dispositive of a critique of Marxistmaterialist idealism. The writing of a new, Western and hybrid art history can thus be defined and determined by a (new) utopian historical heterology.

The paper examines the relationship and contradictions between notions of emancipation and the other in the context of contemporary political perspectives on art and aesthetics. The author intends to indicate and underline the differences between these terms by comparing two divergent theoretical paradigms: one connected to Alain Badiou’s philosophical work and the other related to the writings of Jacques Derrida. It is argued that both Derrida and Badiou do not understand politics in terms of social consensus, but rather, that they deal  with the question of how to create a time-space for
Real emancipation in some state of the situation, and consequently, for an emancipatory artistic practice. As a result, emancipation does not imply seizing and acknowledging the other, but, a radical openness to the other, which is revealed as placing a definitive limit to the power and extent of the Rule. However, it is claimed that time itself, if we understand it as a waiting for an event of emancipation, whether delay and differentiation in time or commitment of Subject(s) of art to a generic event that may happen in an evental site, is the core of the current global ideological anamorphosis – indeed, we might say, of any ideological anamorphosis

The idea of the relation between art and life as becoming-life of art is a consequence of specific modern developments ranging from the Enlightenment to capitalism. This assemblage of thought and practice is present in one of the most dominant art forms today, and the task of this paper is to reassess the current state of affairs in art considering that the current state of affairs in art is a symptom of the global society of control. In order to be emancipatory art, on the one hand, Art presupposes de-substantialization and deessentialization of the biopolitically formed life and the category of Man, while on the other hand it also presupposes a new „generic in-humanum“ (in Badiou), that is, a people to come (in Deleuze) as the basis of politicity. Hence, emancipatory art needs to break away with the human in order to reach that which is beyond the current democratic materialism.

Art becoming life and its relative convergence to the ideality of autarky (αὐτάρκεια), implies a maxim which coincides with the emancipatory promise of Art. Neo-Marxist authors have prescribed this maxim to Marx’s early works, particularly to the thesis from his Economic and Philosophic Manuscripts of 1844, and elaborated it further on these grounds. This maxim has been applied by many avant-garde movements up to the contemporary moment: Bertold Brecht’s political theatre, Guy Debord’s situationism, site-specific art, fluxus, Joseph Beuys’s social sculpture, etc. The common denominator of all these avant-garde practices is the imperative of an affirmation of their use-value – their realisation at the site of their own production, as opposed to the abstractness of their placement in the world.The site of this production is the site of the very production of sociability. Accordingly, the aim of this paper is to examine the maxim art becoming life in the wake of Badiou’s ontology of the site by using the example of the modality of site-specific works in the conditions of contemporaneity.

In the 'Third Sketch for a Manifesto of Affirmationist Art' ('Troisiéme esquisse d'une manifeste de l' affirmationnisme'), Badiou brings together the concepts of Universality, the Senses and Duty in Art. The author will try to reassess the concept of Duty in Badiou's conception of Affirmationist Art, examining the problems of, 1. How is an Emancipatory Art possible in the context of the anti-humanist condition? and 2. What is the ontological and epistemological status of an inhumanity as a fundamental presupposition of human emancipation in Art? It will be argued that the artistic formalization of the Subject(s) – which is 'impersonal and singular', as Badiou asserts – would not be possible without any human participation in the process of subjectification towards human emancipation. The author will demonstrate how it is possible to think the concept of Duty in the aesthetic realm, on the basis of Badiou's presupposition of the Subjective Universality of Art and Župančić's reading of Lacanian theory.

The polemic on waiting for human emancipation in music belongs to the modern aesthetic plane, where Adorno's and Heidegger's manuscripts occupy a specific place. However, while Heidegger's ontology of the waiting implies waiting for the metaphysics of presence (Will), Adorno maintains that music should rather express "waiting in vain" (vergebliches Warten) by its spatio-temporal structuration, given that "after Auschwitz" philosophy with metaphysical assumptions is no longer possible. In the light of Adorno's modem interpretation of waiting in vain, my aim is to examine Badiou's conception of the Event-Subject in music. The thesis of this paper is that Adorno's concept of waiting in vain expresses defeatism of the known (perseverance-of-self) - which, due to its own character offilled affect of disappointment, does not leave time-space for newness. On the trail of Badiou's ontology of subtraction, I oppose the conception of affirmative, non-es-chatological, chiliastic expectation ("surplus of waiting") to the passive waiting in vain in music.
Keywords: Adomo, Badiou, chiliastic expectation, Event, non-eschatological, Subject of music, Vergebliches Warten ("waiting in vain"), Wagner

Zadatak teksta je da dovede u pitanje upotrebu pojma studije vizuelne kulture kao si-nonima, danas u široj literaturi, za područje novih studija vizuelnosti kontekstualizacijom teori-jskog obrta u radu Rozalind Kraus od kritike formalističkih koncepata čiste percepcije, optičkog iluzionizma i materijalne specifičnosti medija prema izvođenju teoretizacije afekta u kontekstu postmedijskog sveta umetnosti. Čini se neophodnim ukazati na razliku koja je eksponirana u pro-ceduralnom pristupu. Dok se područje studije vizuelne kulture oslanja na teorije vizuelne kul-turalne reprezentacije – teorija ideologije, socialni konstrukcionizam, diskurzivna analiza, se-miologija, teorija znaka, istorija umetnosti, antropologija, oblast novih studija vizuelnosti prati promene aspekata ljudske percepcije, vizuelnog opažanja i ontologije medija u odnosu na trans-formaciju prirode (novih) tehnologija (npr. digitalna/pokretna slika). Ovaj potonji pristup dobrim se delom služi pojmovnim aparatom i empirijskim istraživanjima iz oblasti bilogije, fiziologije, neuro-nauka, optike, fizike. Ključne reči: percepcija, optičko nesvesno, besformno, post-medij, afekt;

Despite the many acts of denial and resistance embodied in the phrase "death of the avant-garde," interest in experimental, innovative, and politically radical performance continues to animate theatre and performance studies. For all their attacks upon tradition and critical institutions, the historical and subsequent avant-gardes remain critical touchstones for continued research in the disciplines of theatre, performance studies, film and cinema studies, media study, art history, visual studies, dance, music, and nearly every area of the performing arts. "Avant-Gardes in Performance" features exciting new scholarship on radical and avant-garde performance. By engaging with the charged term "avant-garde," we consider performance practices and events that are formally avant-garde, as defined by experimentation and breaks with traditional structures, practices, and content; historically avant-garde, defined within the global aesthetic movements of the early twentieth century, including modernism and its many global aftermaths; and politically radical, defined by identification with extreme political movements on the right and left alike. The series brings together close attention to a wide range of innovative performances with critical analyses that challenge conventional academic practices.

SADRZAj i. KoNcepT savremeNosTi Jovan Čekić Normalizacija banalnosti _ _9 Miško Šuvaković Strateške i taktičke tranzicije _ _23 Nikola Dedić Doba savremene umetnosti _ _41 Rastko Močnik U umetnosti, savremenost počinje 1917. _ _53 ii. GraNiČNe poLiTiKe vremeNa Slobodan Mijušković »Nema rešenja zato što nema problema« -Dišan _ _97 Ješa Denegri Jedan primer: kolekcija Marinka Sudca i odnos prema nasleđu jugoslovenskog umetničkog prostora _ _111 Marko Đorđević Porozna brana 89-60-45: prošireno čitanje _ _117 iii. aNTaGoNizmi savremeNosTi Bojana Matejić Teorija umetnosti/umetnika kao proizvodnja znanja o i u umetnosti u uslovima kognitivnog kapitalizma _ _133 Jasmina Čubrilo Aporija autonomije i heteronomije savremene umetnosti: »For the sake of humanity -let art be more 'arty'« _ _153 Suzana Vuksanović Istinitost ili stvarnost, pitanje (savremene umetnosti) je sad? _ _167 Stevan Vuković Performativne reartikulacije »sukoba na levici« _ _179 iv. diGiTaLNi dispoziTivi Aneta Stojnić Digitalna umetnost u doba digitalne kulture _ _195 Maida Gruden Digitalna humanistika i avangardno mišljenje _ _203 v. NasTajaNje mreže Zoran Erić Beogradska umetnička scena -od centra do periferije i nazad _ _217 Nikola Šuica Difuzna anomija. Nova umetnost u paradoksima povezanosti _ _227 Dejan Sretenović Kako mapirati svet umetnosti u Srbiji: mreža _ _241 Maja Stanković Zaokret: novo mišljenje umetničke scene _ _255 Biografije autora i autorki _ _269 I KoNCEPT SaVREMENOSTI 9 Jovan Čekić

Heterogen teorijski diskurs Rozalind Kraus ocrtao je „epistemološki prelom“ unutar njujorške intelektualne, kulturno-političke, teorijske, kritičke i umetničke scene krajem šezdesetih i početkom sedamdesetih godi- na prošlog veka. Kulturni derivati i paradigme njenih teorijskih polazišta višestruko su prisutni u savremenom internacionalnom (hegemonom) svetu umetnosti, bez kojih, osim ostalih, zasigurno, ovaj mnogostruki diskurs umetnosti ne bi bio čitljiv. s obzirom na heterogenost teorijskih elaboracija ove autorke, nije bilo lako trasirati, markirati, razlučiti, prikazati i interpretirati njena osnovna teorijska načela, polazišta, probleme i njihov značaj u kontekstu formiranja neo- i postavangardne kulturne njujorške scene, te implikacije povezane s njenim uticajem na evropski kulturni kontekst i obratno. Pošavši upravo od tih „konfliktnih zona“, cilj nam nije bio da taksativno informišemo o njenom teorijskom radu, niti da istorijski predstavimo tok teorijskog rada Rozalind Kraus. zato, ovaj tekst ne prati tradicionalnu logiku istorijskog metanarativa umetnosti, karakterističnu za klasičan evropocentrični oblik konstruisanja znanja o umetnosti (L'épistémè), već je strukturisan oko koliko teorijskih problema, pri čemu je fokus stavljen na modalitete recepcije i primene francuskog strukturalizma i poststrukturalizma na tradicionalni modernistički i visokomodernistički, dominantni, internacionalni metajezik umetnosti. Drugim rečima, ono što ova studija nudi jeste jedna moguća optika za promišljanje i recepciju heuristike, odnosno „metoda“ kojima je Rozalind Kraus uspela da određeni set istorijski validnih pojmova dotadašnjeg sveta umetnosti dekonstruiše i pokaže naličje njihovih ideoloških tamnica.

The primary goal of this paper is to trace critically and discursively the conceptual threshold of the aesthetical, political, and critical meanings and effects of the thesis concerning the conjunction of art and life in (Western) aesthetics and the Theory of Art, in comparison with recent biotechnological artistic conceptions about regulation and deregulation of artificial/non-life. Biotechnology has become today a regulatory imperative in daily life, just as information technology was in the last fifty years. In such circumstances, the recent ´new media art practices´ have testified to the so-called biotech artistic forms (such as A-life, bio-art, semi-living art, trans-genetic art, etc.) which presuppose biotechnological interventions on life, both as a medium and a tool for artistic experimentation. Biotech art includes various modalities of artistic experiments based upon the proliferation of art and science – from the breeding of ornamental plants and animals to transgenetic mixing of ´natural separations´ by the transversal practices accompanying the creation of the ´fourth domain´(Transgeneae) (i.e.mixing of animal and plant), to `subvert evolutionary norms´, the ´authority of the natural order, codes of organic purity and ethical issues concerning transhuman boyhood/existence, and finally, contemporary capitalist reproductive conditions and relations. There are many disputes and speculations regarding such artistic practices, ranging from the critical, i.e Paul Virilio, through the ambivalent, i.e the Critical Art Ensemble, to the affirmative i.e George Gessert, etc. in terms of the political and ethical issues connected with them. I aim to confront these ´critical stances´ with a discursive analysis of the concept of Art as Life in its conceptual inceptions and to demonstrate the ´biotech art's political and critical boundaries.

Bio-art; Biotech;t rans-genetic art;art as life; transhumanism;Virilio; Gessert; CAE (Critical Art Ensemble)

The aim of this paper is to reassess the epistemological break in the Yugoslav art world in the case of conceptual art practices, with the focus on their cultural-political implications within European transcultural dialogues around the Prague Spring. The Author will trace the way in which artistic and theoretical/aesthetical emancipatory values – such as the artistic practice of equality, post-pedagogy, art becoming life, artistic production of sociability/space – were shaped by the global utopian transcultural European demand for ‘real democracy’ around the Prague Spring. The focus of the examination will be the intercultural communication between the German and Yugoslav conceptual art scenes, as well as the issue of the status of such ideas/practices in the current artistic global state of affairs. For this purpose, the Author will bring this discourse of values into relationship with the manifestation of such idea(l)s in the theoretical elaborations concerning the thesis of art becoming life, that were also developed and shaped by the intercultural communication between of the authors of the Praxis Group and the Critical Theory of the Frankfurt School.

Salle Richelieu 9h00-9h30 : accueil des participants et ouverture des travaux du congrès Presentation par richArD conte (PR, arts Plastiques, directeur de l'institut acTe, uMR 8218, université Paris 1 et c.N.R.S.) et jAcinto LAgeirA (PR Philosophie de l'art, directeur de la ligne de recherche AEsthetica, institut acTe) 9h30 1 re SeSSiON Salle STeNdhal Modération : jacinto Lageira crespo nuno (universidade Nova de lisboa, Portugal). Art Criticism and the reflexive value of art.

Where do works of performance art begin and end?
How do they or the traces they left behind live on in
the context of exhibitions? What do performances in
socialist Eastern Europe reveal about artistic expres
sion, political critique or nonconformist social be
haviour? The exhibition Left Performance Histories
features action art in Eastern Europe from the 1970s
on in a way that also relects on its continued relevance
in the present. The show includes works of over 25
artists, some wellknown to those familiar with
the alternative culture of the former Eastern Bloc,
others possibly a new discovery even to the insider.
Rather than a comprehensive retrospective, the ex
hibition zooms in on a handful of selected topics that
have been often left out of critical debates. Where the
unoficial art of socialist Eastern Europe is convention
ally framed as a reservoir of subversive gestures
against an oppressive social, cultural and political
environment, the present selection prefers instead to
approach performance art as a site of jouissance where
conventional selfpresentation or socially approved
forms of gendered identity, sexuality and standards of
beauty may be bypassed. The exhibition also revisits
the question of politicized artistic attitudes to suggest
that the socialist state apparatus was not only chal
lenged by anticommunist positions but also by critical
voices insisting on democratic socialist principles or
remonstrating the bitter ideological competition of the
Cold War.
Through a diversity of curatorial approaches (including
documentary display, discursive events and re
per formance), the exhibition also interrogates how
per formance art can be presented in the context of
later exhibitions. It considers the relics, documentation
and memory of events as part of these works expan
ded materiality to propose a possible understanding
of performance pieces as unixed and continuously
generated archives that need to be conigured anew
every time these works appear in public. With this
approach, the exhibition explores how the histories of
performance art are generated, controlled and under
stood over time. Left Performance Histories poses
questions of what constitutes the artwork and who are
the archivists.