Avantgarde v Jugoslaviji

In his paper the author presents theoretical interpretations of artistic and cultural relations between different avant-garde practices (Dada, Zenitism, surrealism, constructivism) in the territory of the Kingdom of Serbs, Croats, and Slovenians and the Kingdom of Yugoslavia. The avant-garde was the leading formation, perhaps also vanguard, of the “historical development” of modernism. For the most part, the notion of modernity comprises the culture of Western societies from the mid 18th century to the final third of the 20th century. The notion of modernism denotes the culture and art of modern liberal society, although one could also speak of complex reactions to “liberal modernism” in the political practices of modern totalitarianisms (National Socialism, fascism, Bolshevism). Liberal modernism is predicated on a progressive development of society, culture, and art, as well as projections, positings, and realisations of projects of modernisation, i.e. modernity. Modernist culture and art are practices of industrial society and the high degree of professionalization attained thereby, as well as the cultural, political, and aesthetic autonomy of the social disciplines. Avant-garde art emerges within modern art, culture, and society as a radical, excessive, transgressive, and experimental artistic and cultural practice. “Yugoslav avant-gardes” refers to a multitude of transgressive, experimental, inter-media, and interdisciplinary phenomena in the inter-space between literature and the visual arts in the Slavic south (Serbia, Croatia, Slovenia, and Bosnia and Herzegovina) between 1918 and 1935. In the 1910s, ’20s, and early ’30s, the South Slavic cultural space saw the formation of specific avant-garde cultures, such as the Serbian, Croatian, and Slovenian avant-gardes. These avant-gardes were not mutually isolated, but defined by international, inter-textual, and inter-subjective influences and exchanges.V članku predstavi avtor teoretske razlage umetniških in kulturnih odnosov med različnimi avantgardnimi praksami (dada, zenitizem, nadrealizem, konstruktivizem) na ozemlju Kraljevine Srbov, Hrvatov in Slovencev ter Kraljevine Jugoslavije. Avantgarda je bila vodilna formacija, morda tudi avantgarda »zgodovinskega napredovanja« modernizma. Pojem modernosti zajema zlasti kulturo zahodnih družb od srede osemnajstega stoletja do zaključne tretjine dvajsetega. Pojem modernizma označuje kulturo in umetnost moderne liberalne družbe, čeprav bi lahko govorili tudi o kompleksnih odzivih na »liberalni kapitalizem« v političnih praksah modernih totalitarizmov (nacionalsocializem, fašizem, boljševizem). Liberalni modernizem temelji na napredujočem nadaljevanju družbe, kulture in umetnosti, kot tudi projekcij, postavitev in uresničitev projektov modernizacije, t.j. modernosti. Modernistična kultura in umetnost sta praksi industrijske družbe in visoke stopnje profesionalizacije, ki sta jo tako pridobili, kot tudi kulturne, politične in estetske avtonomije družbenih disciplin. Avantgardna umetnost se pojavi znotraj moderne umetnosti, kulture in družbe kot radikalna, presežna, eksperimentalna umetnostna in kulturna praksa. Izraz »Jugoslovanske avantgarde« se navezuje na množico presežnih, eksperimentalnih, inter-medijskih pojavov v medprostoru med literaturo in vizualnimi umetnostmi na slovanskem jugu (Srbija, Hrvaška, Slovenija ter Bosna in Hercegovina) med leti 1918 in 1935. V prvem, drugem ter v zgodnjem delu tretjega desetletja preteklega stoletja je bil južnoslovanski prostor priča oblikovanju specifičnih avantgardnih kultur, kakršen so bile srbska, hrvaška in slovenska. Te avantgarde niso bile medsebojno izolirane, pač pa so jih določali, mednarodni, intertekstualni in intersubjektivni vplivi in izmenjav