The Misfits.pdf - Muzej suvremene umjetnosti Zagreb
The Misfits.pdf - Muzej suvremene umjetnosti Zagreb
The Misfits.pdf - Muzej suvremene umjetnosti Zagreb
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Kuluni points out that justice and its distribution 1 <strong>The</strong> title of the exhibition<br />
is important to all those who take part in the distri- was defined in the course of<br />
bution of the common good. Most people, howev- work meetings with Ph.D.<br />
er, feel that their position in society is "unjust". This Sonja Briski Uzelac who was<br />
logically leads to the question of the model of art's the first to hear about the<br />
function and its position in the context of project. <strong>The</strong> title seemed to<br />
social reality. What, Row and for whorn37, are fit the discourse I planned to deal<br />
the questions increasingly posed by all with in this exhibition. Only later<br />
involved in art. As much as we believe that art did I<br />
find out that <strong>The</strong> <strong>Misfits</strong> was<br />
can affect reality, without dealing with reality, the title of John Huston's movie<br />
it is patently obvious that no csociety can be from 1961 with Montgomery Clift<br />
good without the corrective function of art. and Marilyn Monroe. It is also the<br />
name of an American rock band<br />
from the 1980s. Croatian new wave<br />
band Film, active in the 1980s, had a<br />
hit with the chorus "I am a misfit".<br />
2 After the term "relational aes-<br />
thetics" coined by Nicolas<br />
Bournaud.<br />
3 Miko uvakovie: Glosar,<br />
Projektart: Hnatus, modernama<br />
postmodernizma. magazine. Novi<br />
Sad 2001, p.425.<br />
4 Instructive in this sense is Miko<br />
uvakovie's article "Art and realistic<br />
specters of culture", published in<br />
ivot <strong>umjetnosti</strong>. <strong>Zagreb</strong> 2002, p<br />
106. uvakovic discusses the posi-<br />
tion of art in former communist<br />
countries after the fall of the Berlin<br />
Wall, its reception and interpreta-<br />
tion on the European scene. He is<br />
highly critical of large exhibition<br />
projects in the 1990s that, in his<br />
opinion, presented art of -East<br />
European countries" as "traces,<br />
remnants and ruins" of a failed ide-<br />
ology, indicating a total lack of<br />
understanding as well as a lack of<br />
interest in accepting the relevance<br />
of art from behind the Iron Curtain.<br />
15 I<br />
THE MISFITS