Cultural Identity Politics in the (Post-)Transitional Societies
Cultural Identity Politics in the (Post-)Transitional Societies
Cultural Identity Politics in the (Post-)Transitional Societies
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<strong>Cultural</strong> policies, identities and monument build<strong>in</strong>g <strong>in</strong> Sou<strong>the</strong>astern Europe<br />
<strong>in</strong> <strong>the</strong> practice of <strong>in</strong>tercultural dialogue, without creat<strong>in</strong>g trendy or “politically correct”<br />
projects. Work<strong>in</strong>g <strong>in</strong> “difficult territories”, such as Kosovo, or br<strong>in</strong>g<strong>in</strong>g Kosovo artists<br />
to Belgrade, or deal<strong>in</strong>g with state terrorism (i.e. <strong>the</strong> work of Milica Tomić - XY or<br />
reconstruction of <strong>the</strong> crime), <strong>the</strong>y are liv<strong>in</strong>g and experienc<strong>in</strong>g cultural diversity from its<br />
dangerous side <strong>in</strong> a xenophobic environment. By re<strong>in</strong>vestigat<strong>in</strong>g history, participat<strong>in</strong>g<br />
<strong>in</strong> <strong>the</strong> Centre for <strong>Cultural</strong> Decontam<strong>in</strong>ation <strong>in</strong> <strong>the</strong> programme <strong>Politics</strong> of memory, <strong>the</strong>y<br />
are contribut<strong>in</strong>g to a large extent to <strong>the</strong> self-perception of different Balkan societies as to<br />
<strong>the</strong>ir embedded multiculturalism, as well as historical and contemporary considerations.<br />
Several of <strong>the</strong>ir public events happened with<strong>in</strong> visual art manifestations (24 th Nadežda<br />
Petrović Memorial, <strong>Politics</strong> of Image, Čačak and <strong>Politics</strong> of Memory, Prague Biennale),<br />
produc<strong>in</strong>g participatory monuments made of distributive objects – publications with a<br />
transcript of <strong>the</strong> Talk about an Artwork group under <strong>the</strong> title <strong>Politics</strong> of Memory.<br />
An example of <strong>the</strong> third group of projects is <strong>the</strong> Monument to <strong>the</strong> International<br />
Community of Nebojša Šerić Shoba, erected <strong>in</strong> Sarajevo 12 (steel, marble 2007), “by <strong>the</strong><br />
grateful citizens of Sarajevo”, thus referr<strong>in</strong>g to <strong>the</strong> official “policy of gratitude”, but <strong>in</strong> a<br />
sarcastic manner. The Reuters report: “Sarajevo artists raised a monument to canned<br />
beef on Friday <strong>in</strong> a gesture ridicul<strong>in</strong>g donors for provid<strong>in</strong>g such an unpopular food as<br />
humanitarian aid dur<strong>in</strong>g <strong>the</strong> 1992-95 siege”, 13 shows a misunderstand<strong>in</strong>g of <strong>the</strong> artist’s<br />
<strong>in</strong>tention (<strong>the</strong> artist <strong>in</strong> fact accused <strong>the</strong> <strong>in</strong>ternational community of act<strong>in</strong>g like a voyeur<br />
at a gladiator fight – send<strong>in</strong>g food to keep <strong>the</strong> fighters alive longer, but not prevent<strong>in</strong>g<br />
<strong>the</strong> atrocities).<br />
To what extent monument culture is a source of “<strong>in</strong>spiration” for contemporary artists<br />
can be seen from <strong>the</strong> project of Jelena Miletić(In) visible dialogue. This “research” project<br />
mapped monument culture <strong>in</strong> south-east Serbia, from <strong>the</strong> 19th century till today. The<br />
research <strong>in</strong>cluded municipalities which are outside of contemporary cultural debates<br />
(Bor, Zaječar, Prokuplje, Zlot, Gornja Bela reka, Lenovac, etc.) and it ended with an<br />
exhibition and public presentation <strong>in</strong> Bor. Jelena Miletić treated monuments as artefacts<br />
ga<strong>the</strong>r<strong>in</strong>g toge<strong>the</strong>r different ideologies, memory politics, aes<strong>the</strong>tics and narratives of<br />
collective and <strong>in</strong>dividual memories. This project is one of <strong>the</strong> many <strong>in</strong> Sou<strong>the</strong>astern<br />
Europe <strong>in</strong> which young artists are question<strong>in</strong>g official policies and practices of memory,<br />
<strong>in</strong>sist<strong>in</strong>g that <strong>the</strong>se questions should be openly and publicly debated.<br />
Conclusion: Re-nationalization – <strong>the</strong> monument as a guardian of chosen<br />
memory<br />
The process of re-nationalization extensively used monument policies with<strong>in</strong> <strong>the</strong><br />
culture of memory, as an essential pillar of identity build<strong>in</strong>g. Monument policies and<br />
practices are acts of mediation which enable collective memory to be created and<br />
safeguarded. Represent<strong>in</strong>g <strong>the</strong> value system of society <strong>the</strong>y create a benchmark for<br />
12<br />
http://balkansnet.org/zamir-chat-list/transfer/nss/eng.html accessed 12 June 2010.<br />
13<br />
http://uk.reuters.com/article/idUKL0657786020070406 accessed 12 June 2010.<br />
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