passports to travel around Europe. In 1994, NSK also issued a series of NSK stamps, which were then used as the official stamps of Slovenia. 33 J. Lacan, Le seminaire (livre XVII) L’envers de la psychoanalyse, Paris 1991, p. 239. 34 It was not coincidental that the members of Laibach, and especially their later adherents, studied the works and deeds of Slovenian avant-garde artists from the early 1920s, who likewise met with a complete misunderstanding when introducing Constructivism into the Slovenian cultural atmosphere. The result of their nonstatus was that their works drifted into complete cultural oblivion. They were partially resurrected in the 1960s and especially in the early 1980s when theoretical historical research on them coincided with a similar interest among the artists. 35 E. Bulatov, Perestroika in New York: A Conversation with Erik Bulatov, in: “Arts Magazine” November 1989, no. 3, p. 85. 36 F. Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, London, 1991, p. 172. 37 Irwin, in: Neue Slowenische Kunst, p. 87. 38 A. B. Oliva, The International Trans-avantgarde/La transavanguardia internazionale, Milan: Giancarlo Politi Editore 1982, p. 52. 39 D. Kuspit, The New Subjectivism: Art in the 1980s, NewYork: De Capo Press 1993, p. 109. 40 Irwin’s exhibitions often resembled those of Malevich, especially his Last Futurist Show 0.10 (1915–16). 41 Irwin, Interview, in: Neue Slowenische Kunst, pp. 123–123. First published in: “Opus International” (Paris) (September–October 1988). 42 The notion had already been introduced by Laibach, which defined its aim as the “triumph of ‘monumental retro-avant-garde’”; Laibach, “Problemi” (Ljubljana) 1985, no. 6, p. 19. 43 Slovenian Athens was also the title of another Irwin project. Although conceived in 1985, it was actually carried out in 1991 as an exhibition in the Museum of Modern Art in Ljubljana. It consisted of works by forty-three artists who executed the motif of Grohar’s Sower in various techniques and media. 44 The name of the theater was taken from a note in Artaud: Scipio Nasica, the great pontiff, ordered that the theaters of Rome be leveled and their cellars filled up. See: A. Artaud, Le Theatre et son double, “Oeuvres Completes”, vol. 4, Paris 1964, p. 32. 45 Neue Slowenische Kunst, p. 163. 46 W. Tucker, The Language of Sculpture, London: Thames and Hudson 1977, p. 123. 47 Named after the avant-garde review “Zenit” (Zenith), which was published by Lubomir Micić from 1921 to 1926 first in Zagreb and then in Belgrade. 48 Neue Slowenische Kunst, p. 267. 49 “Delo”, February 11, 1988 reproduced in Neue Slowenische Kunst, p. 275. 50 New Collectivism, quoted in: Erjavec and Gržinić, Ljubljana, Ljubljana, p. 90. 51 For this reason, Laibach’s compact disc Jesus Christ Superstar (London: Mute Records, 1996) was condemned in 1997 by the Catholic archbishop of Ljubljana. 52 Laibach Kunst, “Problemi” (Ljubljana) 1985, no. 6, p. 23.
12 Biennale Muzyczne Zagrzeb, 1983, sitodruk, 49 x 63 cm The 12th Music Biennial Zagreb, 1983, silkscreen, 49 x 63 cm
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