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Using the way in which artists from the former Eastern bloc perceive the experience of EU integration and transition from a Soviet past as a conceptual launching pad, this book explores how artists critically inhabit a permanent state of 'in-between' to capture the simultaneous existence of multiple and overlapping temporalities.
Transitional aesthetics are artistic strategies that disrupt and interrogate ideologically loaded trajectories of cultural, social, or political transition. Examples of such trajectories include the movement from totalitarianism to democracy (post-socialism), from war to freedom and reconciliation (post-conflict), and from the edges of Europe to its centre (inclusion in the European Union).
These transitional states include: the future orientation of (failed) socialism and the perpetual present of global capital; the history of unresolved past conflicts and reconciliation through 'transitional justice'; nationalist obsessions with the past and the cultural appeal of kitsch and retro objects in fashion, film and music; and the uncertain future promise of EU membership and resurgence of global right-wing populism, headed by figures like Berlusconi, Le Pen, and Trump.
Transitional Aesthetics shows that apprehending time in contemporary art is fundamental to capturing the lived experience of a permanent state of instability; particularly relevant to Europe in the contemporary moment. In a world that has entered 'accelerated transition' towards instability, understanding this experience has broad and resonating relevance for politics, art and society.
Uros Cvoro is a senior lecturer in Art and Design at the University of New South Wales, Australia, and is a researcher at Contemporary Culture, Art & Politics (CCAP).
Acknowledgements
Series preface
List of Illustrations
Chapter 1: The Politics of Transitional Aesthetics
Chapter 2: 'We Came To Take Your Jobs Away': Migration and Agency in the Work of Tanja Ostojic and Angela Melitopoulos
Chapter 3: Going Too Far: Translation and Over-Identification as a Critique of Transition
Chapter 4: Halfway Tradition
Chapter 5: The Afterlife of Abandoned Monuments
Chapter 6: Transitional Archives: Art and Historical Memory in Former Yugoslavia
Afterword: Beyond Transitional Aesthetics
Bibliography
Index
