Collection TRANSformacije, book number 28
Collection editor: Janez Janša
191 pages
ISBN 978-961-6572-18-7
This book was published in Slovenian.
Zdenka Badovinac: Authentic interest
Authentic Interest is the 28th book to be published in the Transformacije series and the fourth in the series opening a discussion on curatorship and contemporary (visual) arts. In it, author Zdenka Badovinac, the current director of Moderna galerija/Museum of Modern Art, develops the concept of “authentic interest” as a mode of commitment of a contemporary art institution, which in relation to remembrance in the context of the Post-Fordist, globalised world maintains a certain loyalty to difference that it establishes locally, and by opposing the mechanisms of economic or political domination endeavours to provide the local an equal dialogue with the world.
Collection TRANSformacije, book number 28
Collection editor: Janez Janša
191 pages
ISBN 978-961-6572-18-7
This book was published in Slovenian.
Chapter
The first chapter, Museum, is composed of texts in which the author defines and analyses the concept of a museum of contemporary art. The selected texts describe the state of the art world in the last decades, the relation to the past and the connection between the original and the present concepts. The central part of the chapter is composed of four texts that elucidate contemporaneity and its museum. The chapter is rounded off by two texts that describe the modes of operation that Moderna galerija/Museum of Modern Art has chosen under the specific socio-political conditions in Slovenia. The texts in the second chapter, which is dedicated to Eastern European art, are arranged so as to go from the general to the specific. The first part of the chapter defines the concept of Eastern European art. There follow texts on the Arteast exhibitions, which examined the questions of body, form, the specifics of historicization and self-historicization, and the Eastern European woman. The chapter ends with specific analyses of two authorial practices in contemporary Slovenian art that touch upon the questions of the socialist past, society and politics. The last two texts belong to the conception of Eastern European art, but as authorial poetics they, of course, extend much further, which both analyses point out.
O avtorici
Zdenka Badovinac is a curator and writer, who has served between 1993 and 2021 as director of the Museum of Modern Art in Ljubljana, comprised since 2011 of two locations: the Museum of Modern Art and the Metelkova Museum of Contemporary Art in Metelkova, an autonomous art, culture, and social center in Ljublijana.
Kazalo
MUSEUM
Jelka Šutej Adamič
Contemporary Art Haunts the Homestead: U3 − Weibel’s Selection at Moderna galerija/Museum of Modern Art
Moderna galerija/Museum of Modern Art after 60 Years
Junctions Named Contemporaneity
Museum of Contemporary Art and the Production of Context
Museum as a Space of (Re)definition
The Authentic Interest of a Museum
Informal Matrices of Moderna Galerija/Museum of Modern Art’s Operation
The Invisible City
EASTERN EUROPEAN ART
Erased/Recalled Memory
What Will the Next Revolution Be Like?
Biennials for a Fairer Visibility of the World
Body and the East
Form-Specific Art
Interrupted Histories
Schengen Women
What is the Importance of Being Janez?
Šiška, International
Knjiga v javnosti
21. 3. 2012 : Avtenticni interes – pogovor o knjigi
Multimedijski center KIBLA, Maribor
Maja Megla: Simbolni kapital v globalni izmenjavi
Delo / 27. 10 2010
Avtorica je knjigo naslovila Avtentični interes tudi zato, da bi poudarila »razlikovanja v okviru istega postfordističnega sveta«. Ali kot pravi v enem od besedil: »Avtentični interes prostorov, ki šele vstopajo v intenzivnejšo komunikacijo s svetom, je nasprotje nacionalizmom ali ekonomski oziroma politični premoči; zelo blizu je pogojem, ki omogočajo enakovreden dialog z ostalim svetom. Eden od teh pogojev je simbolni kapital, ki ga določen prostor lahko ponudi globalni izmenjavi.«
Zdenka Badovinac
intervju / Lejla B. Njatin / Ambient / 20. 4. 2011
Moj avtentični interes je torej namenjen moji osebni rasti. Ta odnos pa bi lahko razširila na drugo raven in rekla, da vsakemu prostoru njegova umetnost pomaga k neki samorefleksiji. Vsak prostor pa si mora prizadevati, da tako umetnost omogoči. To pa je avtentični interes prostora, ki nima nobene zveze s tistim folklorističnim. /…/ Potem ko so se z odpiranjem novih prostorov, vzhodne Evrope, Južne Amerike in Azije, začela pojavljati nova znanja o zgodovini teh regij, seje začela krhati dominantna pozicija zahodne zgodovine umetnosti. Zanimati smo se začeli za različne zgodbe. Zgodovinjenje temelji na sočasnosti različnih zgodovin, ali kot mi rečemo zdaj, na pluralnosti narativov. Samozgodovinjenje pa se nanaša predvsem na dela nekaterih zhodnoevropskih umetnikov, ki so zaradi pomanjkljive lokalne zgodovine sami začeli iskati lastno lokalno tradicijo. Ne samo v likovni umetnosti, eden novejših tovrstnih zgledov je recimo rekonstrukcija Pupilije Ferkeverk Janeza Janše.