Naslov
Remembering Jasenovac in contemporary art practice

Autori
Kršinić Lozica, Ana

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni

Skup
ISTME 2016 Conference – Locating and Dis-Locating Memory: In Search of Transcultural Memory in Europe

Mjesto i datum
Dublin, Irska, 01.09.2016. - 03.09.2016

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Jasenovac, conflicting memories, contemporary art, post-Yugoslav space, subject positions

Sažetak
The paper analyses contemporary artworks thematising Jasenovac concentration camp that introduce a new approach to the memorialisation of difficult and contested heritage. Jasenovac was a concentration camp where the regime of the WWII Nazi-aligned Independent State of Croatia was incarcerating and killing members of national and religious minorities (Serbs, Roma people and Jews), as well as Croatians that opposed the regime. From then on, the memory of the camp has been characterized by different ideological manipulations of historical facts, which had performative role in the construction of diverse collective identities. At the time of Yugoslavia, the official memory of the Jasenovac camp was an integral part of the broader metanarrative of the national liberation struggle and the socialist revolution, which served as the basis for building a supranational identity of the new socialist man. After the dissolution of the former Yugoslavia, Jasenovac camp has become a place of open disputes and various revisionist attempts at rewriting history through the prism of experience of socialism and the war of the 90s. In this context where public discourse is dominated by conflicting memories, there are three recent artworks that are introducing new paradigm of memory transmission: installations K19 by Zlatko Kopljar, Black pavilion by Sasa Simpraga, David Kabalin and Niko Mihaljevic and a series of photographs Infertile soil by Sandra Vitaljic. These works were installed in the public space of Zagreb, Sarajevo and Belgrade, and shown in exhibitions throughout Croatia and Europe, where they were addressing a wide audience without using identitary discourse characteristic for the remembrance culture in the former Yugoslavia. The paper will focus on the analysis of the discursive mechanisms and performative aspect of symbolic practices that are used in these works, in order to detect subject positions from which the memory is transmitted, as well as implicit recipients to whom this memory is intended.

Izvorni jezik
Engleski

POVEZANOST RADA