In this Book

In the 1970s, Yugoslavia emerged as a dynamic environment for conceptual and performance art. At the same time, it pursued its own form of political economy of socialist self-management. Alienation Effects argues that a deep relationship existed between the democratization of the arts and industrial democracy, resulting in a culture difficult to classify. The book challenges the assumption that the art emerging in Eastern Europe before 1989 was either “official” or “dissident” art; and shows thatthe break up of Yugoslavia was not a result of “ancient hatreds” among its peoples but instead came from the distortion and defeat of the idea of self-management.
The case studies include mass performances organized during state holidays; proto-performance art, such as the 1954 production of Waiting for Godot in a former concentration camp in Belgrade; student demonstrations in 1968; and body art pieces by Gina Pane, Joseph Beuys, Marina Abramovic, and others. Alienation Effects sheds new light on the work of well-known artists and scholars, including  early experimental poetry by Slavoj Ž iž ek, as well as performance and conceptual artists that deserve wider, international attention.

Table of Contents

  1. Cover
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  1. Half Title, Series Page, Title Page, Copyright, Dedication
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  1. Acknowledgments
  2. pp. vii-x
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  1. Contents
  2. pp. xi-xii
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  1. Introduction: Socialism and Sociality
  2. pp. 1-32
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  1. Chapter One. Bodywriting
  2. pp. 33-115
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  1. Chapter Two. Syntactical Performances
  2. pp. 116-195
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  1. Chapter Three. Disalienation Defects
  2. pp. 196-286
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  1. Afterword: “A” is for . . .
  2. pp. 287-290
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  1. Notes
  2. pp. 291-330
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  1. Bibliography
  2. pp. 331-352
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  1. Index
  2. pp. 353-370
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