Hegemonija kapitalizma in vizualni kod v neuvrščeni Sloveniji

Daša Tepina (Author), Petja Grafenauer (Author)

Abstract

Prispevek obravnava proučevanje umetnosti in njenega vizualnega koda skozi hegemono ideologijo kapitalizma v Sloveniji v okviru nekdanje Jugoslavije, ki je ena izmed ustanoviteljic gibanja neuvrščenih. Poskuša odgovoriti na vprašanje, kako se je vizualni kod neuvrščenosti soočal s hegemonim kodom kapitalizma ter kako se je umetnost spreminjala glede na razmere, v katerih je nastajala po drugi svetovni vojni, v obdobju bipolarnega sveta, v katerem se je v šestdesetih letih prejšnjega stoletja pojavila tudi t. i. tretja pot neuvrščenosti. V času dekolonialnih političnih premikov, s politično emancipacijo in nastankom številnih novih političnih entitet, se kolonialni preteklosti ni uspelo izogniti; preselila se je na druge ravni novih oblik kolonializma. Sledimo tezi, da gre v tem obdobju za prenos kolonializma na področje kulture in vizualnega. Na podlagi primerov ljubljanskega grafičnega bienala in galerijskih politik v Ljubljani poskušamo razumeti razsežnosti kulturnega imperializma v kontekstu neuvrščene socialistične Jugoslavije. Proučevanja oblik modernizma tistega časa na omenjenem prostoru nam razkrivajo, kaj je ta nosil v sebi in kako so ravno prek modernističnih trendov v umetnosti potekali temeljni prenosi kapitalističnih vrednot.

Keywords

vizualni kod;likovna umetnost;kulturni imperializem;Ljubljanski grafični bienale;politika;

Data

Language:	Slovenian
Year of publishing:	2024
Typology:	1.16 - Independent Scientific Component Part or a Chapter in a Monograph
Organization:	UL ALUO - Academy of Fine Arts and Design
Publisher:	Založba Univerze
UDC:	7.01
COBISS:	190868995
Views:	58
Downloads:	5
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	The hegemony of capitalism and the visual code in Non-Aligned Slovenia
Secondary abstract:	This paper concerns itself with the study of art and its visual code through the hegemonic ideology of capitalism in Slovenia in the context of the former Yugoslavia, one of the founding members of the Non-Aligned Movement. It seeks to answer the question of how the visual code of non-alignment interacted with the hegemonic code of capitalism and how art changed under the influence of the post-WW2 conditions in which it was produced, in the period of a bipolar world which, in the 1960s, saw the emergence of the so-called third way of non-alignment. At a time of decolonial political shifts, with political emancipation and the emergence of numerous new political entities, the colonial past could not be completely escaped; it shifted instead to different levels, ushering in novel forms of colonialism. Our thesis is that in this period, colonialism was transferred to the cultural and visual spheres. Using as examples the Ljubljana Biennale of Graphic Arts and the gallery exhibition politics in Ljubljana, we attempt to understand the scope of cultural imperialism in the context of the non-aligned socialist Yugoslavia. Studying the forms of modernism at the time in the area in question reveals what it entailed and how modernist trends in art served as the vehicle for the fundamental transmission of capitalist values.
Secondary keywords:	visual code;art;politics;Ljubljana Biennale of Graphic Arts;cultural imperialism;
Type (COBISS):	Other
Pages:	Str. 44-60
DOI:	10.51938/9789612972868
ID:	23412210