<abstract xmlns="http://www.w3.org/1999/xhtml">This paper reflects a study in how the Slovenian Performance Art collective the NSK (Neue Slowenische Kunst), and more specifically its sub-group Laibach, functioned as a ‘Memory machine’ in re-enacting historical European trauma in an apparent re-staging of the totalitarian ritual. In this way, Laibach demonstrate history as a contemporary active political agency of Eastern and Central Europe.Shaped by the break-up of Yugoslavia, the NSK was a multi-disciplinary Gesamtkunstwerk primarily comprising three groups: IRWIN (visual arts), Noordung (theatre), and its most influential delivery system, Laibach (music). Championed by Slavoj Žižek, Laibach are Slovenia’s most famous cultural export, and are widely considered Europe’s most controversial music group. In 2017, Laibach caused further controversy for being the first ‘Western’ group to play North Korea.With the strategy of Retrogardism, an aesthetic system unique to Eastern European aesthetic praxis, Laibach and the NSK re-mythologised totalitarian iconography associated with Nazi Kunst and Socialist Realism, which contemporary capitalism can only relate to as offensive kitsch.</abstract>

This paper reflects a study in how the Slovenian Performance Art collective the NSK (Neue Slowenische Kunst), and more specifically its sub-group Laibach, functioned as a ‘Memory machine’ in re-enacting historical European trauma in an apparent re-staging of the totalitarian ritual. In this way, Laibach demonstrate history as a contemporary active political agency of Eastern and Central Europe.Shaped by the break-up of Yugoslavia, the NSK was a multi-disciplinary Gesamtkunstwerk primarily comprising three groups: IRWIN (visual arts), Noordung (theatre), and its most influential delivery system, Laibach (music). Championed by Slavoj Žižek, Laibach are Slovenia’s most famous cultural export, and are widely considered Europe’s most controversial music group. In 2017, Laibach caused further controversy for being the first ‘Western’ group to play North Korea.With the strategy of Retrogardism, an aesthetic system unique to Eastern European aesthetic praxis, Laibach and the NSK re-mythologised totalitarian iconography associated with Nazi Kunst and Socialist Realism, which contemporary capitalism can only relate to as offensive kitsch.

Laibach and the Performance of Historical European Trauma

Art History & Criticism

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"Laibach and the Performance of Historical European Trauma"}

This paper reflects a study in how the Slovenian Performance Art collective the NSK (Neue Slowenische Kunst), and more specifically its sub-group Laibach,...

Laibach and the Performance of Historical European Trauma

Online veröffentlicht: 26. Nov. 2020

Seitenbereich: 105 - 113

Eingereicht: 29. März 2019

Akzeptiert: 05. Mai 2020

DOI: https://doi.org/10.2478/mik-2020-0007

Schlüsselwörter
Laibach, Eastern Europe, Performance, NSK, totalitarian, Retrogardism

© 2020 Simon Bell, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Laibach and the Performance of Historical European Trauma

Online veröffentlicht: 26. Nov. 2020

Seitenbereich: 105 - 113

Eingereicht: 29. März 2019

Akzeptiert: 05. Mai 2020

DOI: https://doi.org/10.2478/mik-2020-0007

SchlüsselwörterLaibach, Eastern Europe, Performance, NSK, totalitarian, Retrogardism

© 2020 Simon Bell, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Schlüsselwörter
Laibach, Eastern Europe, Performance, NSK, totalitarian, Retrogardism