Abstract
The objects of Miško Šuvaković’s exploration are affective constructions that appear in contemporary art and theory in lieu of artworks, cultural, and social positioning, and theoretical interpretation. His case study is the artistic-theoretical-cum-media practice of Gržinić and her close accomplice Aina Šmid, which changed and accelerated from the early 1980s to the present in the midst of a global economic and racial crisis. By affective constructions he refers to different media, post-media, behavioural, activist, and theoretical modalities of artists’ actions in the real world, with all the consequences that such actions bring about, whether expectedly or unexpectedly, directly or indirectly. Those consequences are aesthetic, epistemological, or political effects – inscriptions that we recognise as traces of actions that attract, maintain, and absorb my/our attention.
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Notes
- 1.
Brian Massumi, “The Autonomy of Affect,” in Parables for the Virtual—Movement, Affect, Sensation, Durham: Duke University Press, 2002, 27.
- 2.
Sergei Eisenstein, “Montage of Attractions, An Essay,” in The Film Sense, San Diego: Harvest Book, 1975, 230.
- 3.
Marina Gržinić, “Biopolitics and Necropolitics in Relation to the Lacanian Four Discourses,” conference presentation, Simposium Art and Research: Shared Methodologies. Politics and Translation, Barcelona, 6–7 September 2012. http://www.ub.edu/doctorat_eapa/wp-content/uploads/2012/09/Marina.Grzinic_Biopolitics-Necropolitics_Simposio_2012.pdf.
- 4.
Jacques Lacan: “As far as I am concerned, I would assert that the technique cannot be understood, nor therefore correctly applied, if the concepts on which it is based are ignored. It is our task to demonstrate that these concepts take on their full meaning only when orientated in a field of language, only when ordered in relation to the function of speech,” in “The Function and Field of Speech and Language in Psychoanalysis,” in Écrits. A Selection, London: Routledge, 2001, 29.
- 5.
Peter Sloterdijk, “The Weimar Symptom: Models of Consciousness in German Modernity,” in Critique of Cynical Reason, Minneapolis: University of Minnesota Press, 1987, 384–386.
- 6.
Marina Gržinić, Fiction Reconstructed. Eastern Europe, Post-Socialism & The Retro-Avant-Garde, Vienna: Springerin, 2000.
- 7.
Neue Slowenische Kunst, Zagreb: GZ Hrvatske, 1991.
- 8.
Aleš Erjavec and Marina Gržinić, Ljubljana, Ljubljana, Ljubljana: Mladinska knjiga, 1991.
- 9.
Mladen Stilinović, “Footwriting,” in Dora Hegyi, Zsuzsa Laszlo, Emese Suvecz, and Agnes Szanyl (eds.), Art Always Has Its Consequences: Artists’ Texts from Croatia, Hungary, Poland, Serbia, 1947–2009, Budapest: tranzit.hu and Berlin: Stenberg Press, 2011, 91.
- 10.
Achille Mbembe, “Necropolitics,” https://www.dartmouth.edu/~lhc/docs/achillembembe.pdf, 27, 39–40.
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Šuvaković, M. (2017). Affective Constructions: Image—Racialisation—History. In: Gržinić, M., Stojnić, A., Šuvaković, M. (eds) Regimes of Invisibility in Contemporary Art, Theory and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-55173-9_7
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DOI: https://doi.org/10.1007/978-3-319-55173-9_7
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