engleski

Poželjno i stigmatizirano: tema, forma i sadržaj kao glavne diskurzivne kategorije u likovnoj kritici hrvatskoga socrealizma

In this paper iconoclasm is understood in the broader sense, as abandoning and rejecting the old subjects and forms in the totalitarian framework of the politically motivated directing and controlling of the visual arts. In the period of Socialist Realism we notice an intention for the creation of a ‘totalitarian’ mentality or collective ‘trance’ rather than only pressure or censorship in the art field (Briski Uzelac) ; we recognise attempts to influence the collective ‘unconscious’, to automate consciousness and shape it according to the desired mould (Groys). Political elites realized that visual arts have great importance in creating such a collective trance: the task of every artist is to visualize key ideas of the ideological discourse and to translate them into the language of art (Briski Uzelac). This paper will discuss the official, politically directed, Croatian art criticism, which worked as one of the important mediums for the transfer of the Socialist Realist ideology (or the Party line) both to the artists and their audience, and its dicursive strategies aimed at achieving the desirable and ‘correct’ subject matter and stylistics in the period of Socialist Realism (1945–1950). The discourse of art criticism functioned through the system of binary oppositions, where every desirable phenomenon has its forbidden or stigmatized mirror image. This paper focuses on these oppositions, based on the most important categories of the evaluation apparatus criteria: form, subject and content.

Croatian Socialist Realism, Socialist Realist art criticism, subject, form, content, role models

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