Novi broj TkH časopisa online: UMETNOST I JAVNO DOBRO / ART AND THE PUBLIC GOOD (no. 20)

 
UMETNOST I JAVNO DOBRO / ART AND THE PUBLIC GOOD
dvojezično izdanje TkH (Teorija koja Hoda) časopisa za teoriju izvođačkih umetnosti (br. 20)
bilingual issue of TkH (Walking Theory) Journal for Performing Arts Theory (no. 20)
 
Urednici / Edited by: Bojana Cvejić i/and Marko Kostanić
Autori / Authors: Sezgin Boynik, Bojana Cvejić, Boris Čučković, Igor Dobričić, Siniša Ilić, Mario Kikaš, Marko Kostanić, Bruno Latour, Sigrid Merx, Marta Popivoda, Boris Postnikov, Nina Power, Ana Vujanović, Vesna Vuković
  
  
TkH br. 20 je realizovan kao deo aktivnosti BCC projekta.
This issue is realised as part of activities within the BCC project. 
  
>>>Scroll down for English version<<<
 
“Umetnost i javno dobo: uvodne napomene” (odlomak)
Bojana Cvejić i Marko Kostanić
 
Nakon što se globalna finansijska kriza usled spašavanja banaka javnim novcem i pada poreznih prihoda zbog kontrakcije privrednih aktivnosti pretvorila u fiskalnu krizu, tj. krizu javnog duga, vlade širom Evrope su krenule u tzv. mere štednje. Mere, kojima je proklamovani cilj dostizanje većeg stepena konkurentnosti i izbegavanje pada kreditnog rejtinga pojedinih država, se prvenstveno ogledaju u snižavanju cene rada te privatizaciji državnih firmi, javnog sektora i javnih resursa. Kako je levica poslednju krizu dočekala deformisana i uništena neoliberalnom kontrarevolucijom i raspadom zemalja realno postojećeg socijalizma, pregrupisanje redova i formiranje strategija otpora merama štednje moglo je biti, bez obzira na eventualne masovnosti protesta, artikulisano jedino iz defanzivne perspektive. Kroz različite forme protesta širom Evrope, od pitanja obrazovnog sistema do borbi oko prostornih politika, kao zajednički deklarativni imenilac iznedrila se sintagma – javno dobro. Nakon što je poslužila u agitacijske i mobilizacijske svrhe predstoji hegemonijska borba za njeno definisanje i što produktivniju instrumentalizaciju u budućim borbama. Na području umetnosti, prvi na udaru mera štednje našao se eksperimentalni deo polja izvedbe izvan mejnstrima, gde su izvedbeni umetnici, kulturni radnici, selektori i producenti u Evropi zatečeni politički nespremnim da deluju.
Definisati javno dobro podjednako je problematično kao i konceptualno odrediti nezavisnu, non-mainstream, eksperimentalnu umetnosti i kulturu. Da li je stav o umetnosti kao specifičnoj proizvodnji znanja potrošen ili uopste slab argument? Da li će pokretanje javne rasprave o umetnosti i javnom dobru otvoriti pitanje javne kao političke sfere kojoj umetnost i kultura sve manje pripadaju? Ako samo nemaština može da iznedri pobunu, onda bi opasnost od gubitka obilja mogućnosti koje je država blagostanja na Zapadu ranije nudila zaista mogla da dovede do artikulisanja političkih problema, ne samo u smislu retrospektivne odbrane autonomije umetnosti, već i što se tiče drugih zahteva u kontekstu javnog dobra, u smislu obrazovanja, zdravstva, ili čak i same politike.
 
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“Art and the Public Good: Introductory Remarks” (excerpt)
Bojana Cvejić and Marko Kostanić
 
The latest issue of Walking Theory, edited by Bojana Cvejic and Marko Kostanic, is dedicated to "Art and the Public Good."
Following the transformation of the global financial crisis into the global fiscal crisis, which was caused by using public money to bail out banks, as well as by falling tax revenues owing to the recession, governments across Europe launched their so-called austerity measures. Those measures, whose proclaimed aim is to boost the competitiveness of certain European states and avoid the downgrading of their credit ratings, mostly come down to lowering the cost of labour and privatising state-owned companies, the public sector and resources. Since the latest crisis arrived at a time when the left has been thoroughly deformed and destroyed by the neoliberal counterrevolution and the collapse of real-socialist countries, its regrouping and devising strategies of resistance to the austerity measures could only be articulated from a defensive perspective, however massive some of the protests might be. Across Europe, those different forms of protests, concerning issues ranging from education to urban planning, have spawned a common declarative denominator: the public good. Having served well for agitation and mobilisation purposes, the phrase should now become a site of hegemonic struggle regarding its definition and instrumentalisation, as productive as possible, for struggles that are yet to come. Among the arts, it is the non-mainstream, experimental segment of the performance field that has borne the brunt of the austerity measures, whereas Europe’s performance artists, cultural workers, programmers, and producers have found themselves politically ill-equipped to act.
 
Defining the public good is as problematic as it is conceptually to determine independent, non-mainstream, experimental art and culture. May we hope that launching a public debate about art and the public good will broach the question of the public qua political sphere, to which art and culture belong in a constantly diminishing sense? If the austerity measures generate real revolt, then the prospect of losing the abundant opportunities that the former welfare state used to offer in the West might actually give rise to an articulation of political concerns, not only in the name of a retrospective defence of art’s autonomy anymore, but also in terms of other demands and claims of the public good, regarding education, healthcare, or perhaps even politics itself.    
 
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Ovo kao i prethodan izdanja časopisa su dostupna na / The complete issue along with previous issues of TkH Journal are available at: www.tkh-generator.net
 
U Beogradu časopis je moguće kupiti u knjižarama / Hard copy available in bookstores in Belgrade: Beopolis i/and Aleksandar Bjelić (cena/price 700 rsd = 7€)
 
Finansijska podrška / Financial support::
Evropska unija / European Union, Skupština grada Beograda / Assembly of the City of Belgrade, Ministarstvo kulture, informisanja i informacionog društva Republike Srbije / Ministry of Culture Media and Information Society of republic of Serbia. 
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