Uroš Čvoro – författare

At a time of dramatic struggles over monuments around the world, this book examines monuments that have been erected in post-conflict Bosnia and Herzegovina (BiH) since 1996.Examining the historical precedents for the high rate of monumentbuilding, and its links to ongoing political instability and national animosity, this book identifies the culture of remembrance in BiH as symptomatic of a broader shift: a monumentalisation and privatisation of history. It provides an argument for how to account for the politics of contemporary nation-state formation, control of space, trauma and revisions of history in a region that has been subject to prolonged instability and crisis.This book will be of interest to scholars in contemporary art, museum studies, war and conflict studies, and European studies.

At a time of dramatic struggles over monuments around the world, this book examines monuments that have been erected in post-conflict Bosnia and Herzegovina (BiH) since 1996.Examining the historical precedents for the high rate of monumentbuilding, and its links to ongoing political instability and national animosity, this book identifies the culture of remembrance in BiH as symptomatic of a broader shift: a monumentalisation and privatisation of history. It provides an argument for how to account for the politics of contemporary nation-state formation, control of space, trauma and revisions of history in a region that has been subject to prolonged instability and crisis.This book will be of interest to scholars in contemporary art, museum studies, war and conflict studies, and European studies.

This book is the first academic study of contemporary feminist art in Bosnia and Herzegovina (BiH).Focusing on art from BiH–a Former Yugoslav republic that has been largely overlooked in the literature–this book demonstrates the unique contributions by artists in understanding the intersection of gender and class with nationalism in a post-conflict society. Examining the historical precedents and drawing on conversations with the artists, this book examines the way in which artists present a counterpoint to the toxic normative culture of remembrance. It provides an argument for feminist art as a mode of remembrance and anti-nationalist collectivity in a region that has been subject to prolonged instability and crisis.This book will be of interest to scholars in contemporary art, feminist studies, war and conflict studies, and European studies.

Turbo-folk music is the most controversial form of popular culture in the new states of former Yugoslavia. Theoretically ambitious and innovative, this book is a new account of popular music that has been at the centre of national, political and cultural debates for over two decades. Beginning with 1970s Socialist Yugoslavia, Uroš Čvoro explores the cultural and political paradoxes of turbo-folk: described as ’backward’ music, whose misogynist and Serb nationalist iconography represents a threat to cosmopolitanism, turbo-folk’s iconography is also perceived as a ’genuinely Balkan’ form of resistance to the threat of neo-liberalism. Taking as its starting point turbo-folk’s popularity across national borders, Čvoro analyses key songs and performers in Serbia, Slovenia and Croatia. The book also examines the effects of turbo on the broader cultural sphere - including art, film, sculpture and architecture - twenty years after its inception and popularization. What is proposed is a new way of reading the relationship of contemporary popular music to processes of cultural, political and social change - and a new understanding of how fundamental turbo-folk is to the recent history of former Yugoslavia and its successor states.

Using the way in which artists from the former Eastern bloc perceive the experience of EU integration and transition from a Soviet past as a conceptual launching pad, this book explores how artists critically inhabit a permanent state of ‘in-between’ to capture the simultaneous existence of multiple and overlapping temporalities. Transitional aesthetics are artistic strategies that disrupt and interrogate ideologically loaded trajectories of cultural, social, or political transition. Examples of such trajectories include the movement from totalitarianism to democracy (post-socialism), from war to freedom and reconciliation (post-conflict), and from the edges of Europe to its centre (inclusion in the European Union). These transitional states include: the future orientation of (failed) socialism and the perpetual present of global capital; the history of unresolved past conflicts and reconciliation through ‘transitional justice’; nationalist obsessions with the past and the cultural appeal of kitsch and retro objects in fashion, film and music; and the uncertain future promise of EU membership and resurgence of global right-wing populism, headed by figures like Berlusconi, Le Pen, and Trump. Transitional Aesthetics shows that apprehending time in contemporary art is fundamental to capturing the lived experience of a permanent state of instability; particularly relevant to Europe in the contemporary moment. In a world that has entered ‘accelerated transition’ towards instability, understanding this experience has broad and resonating relevance for politics, art and society.

Using the way in which artists from the former Eastern bloc perceive the experience of EU integration and transition from a Soviet past as a conceptual launching pad, this book explores how artists critically inhabit a permanent state of ‘in-between’ to capture the simultaneous existence of multiple and overlapping temporalities. Transitional aesthetics are artistic strategies that disrupt and interrogate ideologically loaded trajectories of cultural, social, or political transition. Examples of such trajectories include the movement from totalitarianism to democracy (post-socialism), from war to freedom and reconciliation (post-conflict), and from the edges of Europe to its centre (inclusion in the European Union). These transitional states include: the future orientation of (failed) socialism and the perpetual present of global capital; the history of unresolved past conflicts and reconciliation through ‘transitional justice’; nationalist obsessions with the past and the cultural appeal of kitsch and retro objects in fashion, film and music; and the uncertain future promise of EU membership and resurgence of global right-wing populism, headed by figures like Berlusconi, Le Pen, and Trump. Transitional Aesthetics shows that apprehending time in contemporary art is fundamental to capturing the lived experience of a permanent state of instability; particularly relevant to Europe in the contemporary moment. In a world that has entered ‘accelerated transition’ towards instability, understanding this experience has broad and resonating relevance for politics, art and society.

In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years. Through analyses of visual culture from contemporary "war art" to the meme wars, they argue that the art that most effectively challenges the ethics and aesthetics of war and terror today is that which disrupts this flow—art that makes alternative perceptions of wartime both visible and possible.As a theoretical work, Images of War in Contemporary Art is richly supported by visual and textual evidence and firmly embedded in current artistic practice. Significantly, though, the book breaks with both traditional and current ways of thinking about war art—offering a radical rethinking of the politics and aesthetics of art today through analyses of a diverse scope of contemporary art that includes Ben Quilty, Abdul Abdullah (Australia), Mladen Miljanovic, Nebojša Šeric Šoba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).

The 2021 Capitol Hill Riot marked a watershed moment when the ‘old world’ of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uroš Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event’s aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age.Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders’ perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the ‘Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society.As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.

The 2021 Capitol Hill Riot marked a watershed moment when the ‘old world’ of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uroš Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event’s aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age.Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders’ perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the ‘Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society.As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.

What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the ‘War on Terror’.Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews.It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to ‘culture’ wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of ‘official’ war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide.Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.

What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the ‘War on Terror’.Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews.It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to ‘culture’ wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of ‘official’ war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide.Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.