处于危险中的艺术社区:关于斯洛文尼亚

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
OCTOBER Pub Date : 2021-12-01 DOI:10.1162/octo_a_00443
Zdenka Badovinac
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引用次数: 0

摘要

摘要《危险的艺术社区:斯洛文尼亚》讲述了在当今危机时期,采取道德立场比采取政治立场更容易,以及政治操纵往往隐藏在看似道德的态度之下。作者在中东欧,特别是斯洛文尼亚,随着新冠肺炎的兴起和Janez Janša同时担任总理,威权势力不断壮大的背景下分析了这些问题。扬沙政府系统性地忽视了文化机构和科学领域的专业能力,尤其是在疫情方面。文化领域专家的声音被忽视了,这正是因为他们的专业知识不是中立的。在言论自由空间不断缩小的时代,明确定位的需求变得更加迫切。作者讨论了去年夏天她为罗马MAXXI博物馆策划的展览“比我自己更大/前南斯拉夫的英雄之声”。那里展示的作品涉及南斯拉夫解放历史,涉及当今特别紧迫的问题:全球资本主义、后人类状况,尤其是威权主义的回归。斯洛文尼亚当局对展览持敌对态度,不仅因为它表达了该地区的批评声音,还因为那里展出了前南斯拉夫的艺术家,据斯洛文尼亚右翼人士说,他们不再值得参加国家文化项目。关于斯洛文尼亚今天发生的事情,文章问为什么中欧和东欧出现了如此强烈的右倾,它正在复兴“传统”道德、父权制和民族主义,并对文化机构进行政治干预。斯洛文尼亚和该地区其他国家的现任政府希望通过支持表面上中立的专家来摆脱左翼文化专家的批评声音。它将所有被它认为是左派的人从重要职位上除名,取而代之的是自己的人民,以便在各种政治选择之间取得平衡。然而,这种平衡行为和新的“中立”只是东欧尖锐威权主义的现代伪装之一。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Art Communities at Risk: On Slovenia
Abstract “Art Communities At Risk: Slovenia” talks about how it is somehow easier to take a moral than a political position in times of crisis today—and how political manipulations often hide under seemingly moral attitudes. The author analyzes these issues against the background of growing authoritarian forces in Central and Eastern Europe, especially Slovenia, which saw the rise of covid-19 and Janez Janša as prime minister at the same time. Janša's government systematically ignores professional competencies in cultural institutions as well as in science, especially in relation to the epidemic.The voice of experts in the field of culture is ignored, and this is precisely because their specialized knowledge is not neutral. In a time when the space for free speech is shrinking, the need for a clear positioning becomes even more pressing. The author discusses the exhibition Bigger than Myself / Heroic Voices from Ex-Yugoslavia, which she curated for Rome's MAXXI museum last summer. The work shown there addressed Yugoslav emancipatory histories in relation to the issues of particular urgency today: global capitalism, the posthuman condition, and the return of authoritarianism, in particular. The Slovenian authorities took a hostile attitude towards the exhibition, not only because it presented critical voices from the region but also because artists from the former Yugoslavia were presented there, who, according to Slovenian right-wingers, are no longer worthy of participating in national cultural projects. Concerning the example of what is happening in Slovenia today, the essay asks why there has been such a strong turn to the right in Central and Eastern Europe, which is reviving “traditional” morality, patriarchy, and nationalism and engaging in political interference in cultural institutions. The current governments of Slovenia and other countries in the region want to get rid of the critical voices of left-wing experts in culture by favoring ostensibly neutral experts. It removes from important positions all those it considers to be leftists and replaces them with its own people in order to seemingly strike a balance between the various political options. This balancing act and new “neutrality,” however, are just one of the modern disguises of acute authoritarianism in Eastern Europe.
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来源期刊
OCTOBER
OCTOBER HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
33.30%
发文量
0
期刊介绍: At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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