On women's video art in the context of Yugoslavia, 1969-1991
- Submitting institution
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Robert Gordon University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- Blackwood_3
- Type
- C - Chapter in book
- DOI
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- Book title
- EWVA: European women's video art in the 70s and 80s.
- Publisher
- John Libbey Publishing
- ISBN
- 9780861967346
- Open access status
- -
- Month of publication
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- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This book chapter was invited by the editors, Partridge, Leuzzi and Shemilt, and was one of the key legacy outcomes of the AHRC-funded European Womens’ Video Art, the recipient of a grant of £234,872 (https://gtr.ukri.org/projects?ref=AH%2FM002861%2F1). The essay underwent peer review in the summer of 2018.
Written from our vantage point, the categories of ‘Yugoslavia’ and ‘video art’ are historical. Having grown up in the 1980s with video art as the most contemporary of the new art practices, and with Yugoslavia seemingly a permanent fixture on the map of Europe, the author finds this a strange essay to have to write.
But the awful dissolution of Yugoslavia in the 1990s into squabbling fragmentary kleptocracies, and the swamping of video by the emergence of digital cultures and their attendant technologies, makes this perhaps a timely moment from which to consider the key role played by women artists and cultural workers in the
emergence of video technology from the late 1960s, right through to the post Yugoslav present.
The essay focuses on the work of Zemira Alajbegović, Marina Abramović, Nuša & Srečo Dragan, and Sanja Iveković, and locates the foundational works of these artists in the context of subsequent work in contemporary by Bosnia’s Maja Bajević. The close relationship between Yugoslav Television in Belgrade and in regional capitals (Zagreb, Ljubljana, Skopje) is also touched upon, as is the legacy of early video art in the post-Yugoslav present.
- Author contribution statement
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- Non-English
- No
- English abstract
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