Between New Sensibility and Transgression: Slovenian Alternative Artistic Practices – OHO and NSK
DOI:
https://doi.org/10.3986/pkn.v43.i3.04Keywords:
art and society, Slovenian art, neo-avant-garde, post-avant-garde, retro-avant-garde, conceptual art, politics, revolution, OHO, Neue Slowenische KunstAbstract
The article conducts a comparative discussion on the strategic poetic and political similarities/differences between the respective contexts of neo-avant-garde and retro-avant-garde practices in relation to aesthetic, artistic, and cultural revolutions. I juxtapose two revolutionary potentials and effects of their actualisation: the utopias and projections of the international revolution relating to the “new sensibility” and the unity of “art and life” of 1968, and several projects and practices that undermine totalitarian systems, from punk cynicism to the national revolutions of 1989 that overthrew real socialism in the Eastern and Central Europe. In my comparative discussion I focus on two specific cases in Slovenian art and alternative cultures, highlighting the position of “experimental poetry,” “new sensibility,” and “conceptual art” of the OHO group, active between 1966 and 1971, and the position of “political cynicism” and “retro-avant-garde art” in the Neue Slowenische Kunst movement founded in 1984.
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