State, Transnational Citizenship and the Transformative Power of Art: The NSK State in Time

IF 0.3 3区文学 0 LITERATURE

CLCWEB-Comparative Literature and Culture Pub Date : 2021-03-14 DOI:10.7771/1481-4374.3388

Barbara Orel

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Abstract

This article deals with one of the most intriguing art projects at the intersection of art and social experiment—The NSK State in Time. This is a paradigmatic transnational state that does not have a territory and whose citizenship can be obtained regardless of one’s nationality, citizenship, race, religion or political convictions. It was established in 1992 by the Slovenian art collective Neue Slowenische Kunst—the NSK, and has seen continuous manifestations in various sociopolitical contexts worldwide. The most prominent one in recent time took place in 2017, when the NSK State opened its own pavilion at the Venice Biennale—a nationally conceptualized fine art event—to exhibit its art next to other countries of the world. This case study analyses the development of The NSK State in Time through the 28 years of its existence, shedding light on the state-formative role of culture and art in the shaping of communities and their identities in the globalized world. The author argues that the NSK State has established a utopian political space that has the power of transcending the ideological limitations of the existing (spatial) states. She demonstrates that this transformative power derives from its liminal position and relentless pursuit of in-betweenness as opposed to the social and political order of the localities where the manifestations of the NSK State take place. Barbara Orel, "State, Transnational Citizenship and the Transformative Power of Art: The NSK State in Time" page 2 of 9 CLCWeb: Comparative Literature and Culture 22.4 (2020): http://docs.lib.purdue.edu/clcweb/vol22/iss4/12

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国家，跨国公民和艺术的变革力量:NSK国家的时间

这篇文章讨论的是艺术与社会实验交汇的最有趣的艺术项目之一——NSK时代的状态。这是一个典型的跨国国家，没有领土，无论国籍、国籍、种族、宗教或政治信仰如何，都可以获得公民身份。它由斯洛文尼亚艺术团体Neue Slowenische Kunst-the NSK于1992年创立，并在世界各地的各种社会政治背景下不断表现出来。最近最突出的一次发生在2017年，当时NSK国家在威尼斯双年展上开设了自己的展馆-这是一个全国性的美术活动-与世界其他国家一起展示其艺术。本案例研究分析了NSK国家28年来的发展，揭示了文化和艺术在塑造全球化世界中的社区及其身份方面的国家形成作用。作者认为，NSK国家建立了一个乌托邦式的政治空间，它具有超越现存(空间)国家意识形态限制的力量。她证明了这种变革的力量来自于它的有限地位和对中间性的不懈追求，而不是NSK国家表现发生的地方的社会和政治秩序。芭芭拉·奥雷尔，“国家，跨国公民和艺术的变革力量:NSK国家的时间”，CLCWeb:比较文学与文化22.4 (2020):http://docs.lib.purdue.edu/clcweb/vol22/iss4/12

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来源期刊

CLCWEB-Comparative Literature and Culture LITERATURE-

CiteScore

0.40

自引率

33.30%

发文量

审稿时长

24 weeks

期刊介绍： The intellectual trajectory of CLCWeb: Comparative Literature and Culture is located in the humanities and social sciences in the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Comparative cultural studies is a contextual approach in the study of culture in all of its products and processes; its theoretical and methodological framework is built on tenets borrowed from the discipline of comparative literature and the field of cultural studies and from a range of thought including literary and culture theory, systems theory, and communication theories; in comparative cultural studies focus is on theory and method, as well as on application; in comparative cultural studies metaphorical argumentation and description are discouraged; the intellectual trajectory of the journal includes the postulate to work in a global and intercultural context with a plurality of methods and approaches, and in interdisciplinarity in the study of the processes of communicative action(s) in culture, the production and processes of culture, the products of culture, and the study of the how of these processes; the epistemological bases of comparative cultural studies are in (radical) constructivism and in methodology the contextual (systemic and empirical) approach is favored (however, comparative cultural studies does not exclude textual analysis proper or other established fields of scholarship).