<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.</p></abstract>

Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.

Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst

Acta Universitatis Sapientiae, Film and Media Studies

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

Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN,...

Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst

Data publikacji: 19 sty 2018

Zakres stron: 175 - 196

DOI: https://doi.org/10.1515/ausfm-2017-0008

Słowa kluczowe
gender, nation-state, music, video, fine arts

© 2017 Natalie Gravenor, published by De Gruyter Open

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

Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst

Data publikacji: 19 sty 2018

Zakres stron: 175 - 196

DOI: https://doi.org/10.1515/ausfm-2017-0008

Słowa kluczowegender, nation-state, music, video, fine arts

© 2017 Natalie Gravenor, published by De Gruyter Open

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

Słowa kluczowe
gender, nation-state, music, video, fine arts