2020/12/28 by Goran Pavlić, Pavlić, Goran
Computer Science · Social Sciences · #Digital Media and Visual Art #Eastern European Communism and Reforms #Europe #Yugoslavia #performance art #revisionism. #socialism #standpoint epistemology
paper · doi:10.17892/app.2020.00011.247
openalex publication_date 2020/12/28 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/01
In order to fully understand the theoretical engagements with the specificities of Yugoslav performance art presented in this issue, it is necessary to first acknowledge the particular political heritage of this art. The position of the socialist Yugoslav state between the Western and Eastern blocs — manifested on the international level in its participation in the Non-Aligned Movement — deeply affected artistic production and its immediate theoretical reflection. The epistemological ambiguity of such a position leads to a “deferred production of knowledge”: delayed or marginalised within the Western European context, yet privileged and entitled in construing its own original political and artistic trajectory. Goran Pavlić introduces the themed issue on Yugoslav performance art with an outline of the theoretical approaches relevant to the included articles. Image: The pavilion of Yugoslavia designed by the Croatian architect Vjenceslav Richter. The 1958 Brussels World’s Fair (Expo 58).