Im Dialog

Es gibt Museumsschaffende in und vor allem außerhalb Europas, deren Berufsalltag sich aus politischen und/oder wirtschaftlichen Gründen als besonders schwierig erweist.
Die Museumsakademie bemüht sich, Leiter/innen, Kuratorinnen/Kuratoren und Vermittler/innen in Austausch mit österreichischen Museumsfachleuten zu bringen, mit dem Ziel, gemeinsam mögliche Antworten und Lösungsansätze für die Fragen und Herausforderungen der Praxis zu entwickeln.

 

 

 


Sarajevo IV

Art in Socialism reviewed

07.04.-23.04.2011


Workshop and Exhibition in cooperation with The National Historical Museum of B&H, Sarajevo & The National Art-Museum of B&H, Sarajevo 


People in countries determined by a more or less radical change of political regimes or ideologies within their recent history generally suffer from limited ways of dealing with their personal experiences bound back to the periods officially overcome. This is especially the case for individuals, who grew up under one regime, and, as teenagers or young adults, from one day to the next, were confronted and expected to cope with a completely new set of political ideals, ideas, and rules of a new regime. While elder people might have been initiative in promoting the change, or opposed it, that is, in this or that way shared it in full awareness, younger people most probably experienced those changes in more fundamental and personal ways, leaving them it quite often with kind of a broken identity. One field, within which the effects of those deep social-political changes relevant also for the personal development of individuals can be made visible and reflected, are images as well as other aesthetic experiences. Just as much as totalitarian regimes focused on producing overwhelming imagery and emotional events, it seems to be apt to assume that respective phenomena would have had a strong and lasting impact on especially children and an younger people, and this the more as the new, more liberal regimes, at least officially, were determined to avoid setting up a normative political imagery. Assuming that the totalitarian imagery, or, at least, its basic features like, for example, the figure of the hero, are latent, and, in a hidden form, are still effective, it seems to make sense to systematically review those images, and discuss their role for the orientation of individuals in actual situations. The workshop and exhibition Art in Socialism reviewed will take first steps to analyze this complex. Basic idea of the workshop and exhibition is to transfer the collection of official and semi-official images/imagery (produced between 1949-1989 in former Yugoslavia) stored in the National Historical Museum of Bosnia-Herzegovina in Sarajevo (the former Revolution-Museum) to the National Art Gallery of Bosnia-Herzegovina in Sarajevo, and to install it in its space in form of an art-exhibition. It is expected that the translocation of the collection and its resetting in a different context will allow to review the images as art-works at first hand, and to discriminate them by artistic and art-historical standards. In consequence it will be made possible to set the ideological meanings of the images in perspective, and to revaluate them by reflecting them in a more complex way. As a result of this differentiated reviewing process it might be possible to discuss the impact of specific images in the context of personal experiences, and reflect their actual role, which might result first and foremost from their artistic value. After this process, which should be documented, the images are to be given back to the Historical Museum.

 

with
Asja Mandic Art-History Department of the University of Sarajevo (BiH) 
Michael Fehr Institute for Art in Context, University of the Arts Berlin (D) 
Miran Mohar, Borut Vogelnik Artists IRWIN, Ljubljana (SLO)

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