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Neboja Vili

After the Aesthetization of the Everydayness and
Towards the Social Commitment
(Few Textual Quotes)

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2000 12 . (, 2000) , Getting Out. Artist vs. Society, (
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:
Since the social reality is always stronger than the hopes
and expectations, I presented my thoughts to you in a pencil-handwritten-on-paper form. It is first time after ten years,
since I bought my first computer. The events in Belgrade last
night made me change the substance of the formerly prepared
text. This new version deals with the conclusive critique of my
social surrounding and environment letting me not to have the
laser-printed version. The thoughts were, anyway, presented
to you nothing could stop it. Even less the hard social reality.

24
2000, .

, States of Changes? , 1994,
, .
,
, : After the Aesthetization of the Everydayness and
Towards the Social Commitment (Few Textual Quotes),
Aprs lesthtique du quotidien, vers un egagement social
[Andr Roull] Devenirs. Art contemporain
dans lEurope du sud-est, 2002. (Vili, 2002: 109) ,
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pro bono publico;
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, 9 2014

Neboja Vili

After the Aesthetization of the

Everydayness and
Towards the Social Commitment
(Few Textual Quotes)

It defines the approach towards the artistic articulation
of few relations: artist statement, artists reality, and artist
society or artist a statement towards the reality and the society.
The exhibition treats the position of the artist in his endeavoring to
determine and artistically to transpose the seeing on them. It shows
the artists position in which any of her/his committed acting is
directed towards certain conclusive character. Without any will
to change the world, the recent artist, through the field of her/his
acting, almost has no ambitions for revolutionary change in that
sense in which more of the art movements from the late sixties and
seventies had posted as their basic disposition and acting direction.
The appearing again of taking a statement of the artist on the
social events (which are integrating the culturological, ideological,
political, ethnical, national or the aspects of all of the minor and
sub categories) is a mark that he is going out of the closeness of the
secure asylum or shelter in the world in which s/he inviolably rules
the world of her/his studio. These out-going posts the artist in the
position from which s/he observes the changes of the surrounding
reality s/he considers that her/his statement towards that reality
and society is part of the interests s/he has to be occupied by.
(1997)

paradigm individualism collectivism connectedness
- connective aesthetic Marxism seeing-listening-reading/
writing (2000a)

Following the recent art scene one might have thought
that the contemporary art is reviving the actions from the seventies
when the revolutionary thought led the artists idea of changing the
society by expressing his revolt. What have changed in meantime
is that the art production took in consideration the weakness of
the cultural impact on the social movements and changes. That
puts him in a position of the passive critique of them, rather than

the active belief of successful radical changes. Even more, the

artist accepts that passive position, but from the other hand, s/
he did not escape in the security of his own atelier and his own
symbolic world. He went out on the streets, both metaphorically
and factually. He decided to put a comment, as it is expected from
him, on the recent and actual happening in the surrounding of his
atelier. This new radical change is presenting the artist as a part of
the social environment more than a lunatic or an adored genius
the outlaw of it. The direct relation with the sociality opens a
different position of the artist as an active subject of the social life:
whatever are the results of these changes. (2000a)

In the late 1980s and early 1990s there were different
appearances of the critical approach towards the social reality, but
they all ended in a form of conclusive critique. The conclusive
character of this critique refers to the conscious of the artist that
radical changes of the social reality through or by the artistic action
are far back with the utopia of the modernistic projectivity. S/he
knows that s/he has to withdraw the specific issues and stress them
in other way (which is usually call art or aesthetic character of
art). That is somehow the call of Suzy Gablik for the balance or
equilibrium between the desire for individual freedom with the
needs of society or, according to Peter Fuller, the freedom that
matters: the freedom to act socially. The later counts of misfortuned
attempt of the 68 syndrome and the call for a revolutionary change
of the social structures. Being conscious about the failure, it counts
less emotional, but more rational: this freedom to act socially,
does not matter how much is leftist point of view, is understood as
a tool for building not weaker, but more realistic expectations: for
the power, capability and ability of the art to influence the social
processes. (2000b)

The actuality of the Central and East European art from
the aspect of the expressed interest is showing itself as worth
analyzing more over due to the specific circumstances that the
region is faced with. These circumstances may have two causes:
from one hand is the attempt to get secure (i.e. financial) protection
of the state and, from the other hand, encircling of the definition of
the aspects of democracy, through the attempts of avoiding of that
secure protection of the state (needed for the opening of the end
of the history processes). As antipodal, these causes are paying
the bill of the past times. At the same time, the artistic practices

and production begun to realize the beginnings of the end of the

history in the form of: spatial and ambiental installations; digital
and communicative projects; or projects that are penetrating the
social (as a common corpus of different penetrations); or projects
for competitions and open approach to the information and
their exchange (as a opposite metaphors from the dictated and
controlled distribution of the information in the past). At once
large number of art institutions (both local and foreign) stood up
on the side to protect the art values, unable to accept (even to
understand) the new democratic or democratized appearances
in the field of culture and art production. This antipodal situation
among the local communities is not the only with which the Central
and East European art is facing at the end of the century. From
the other side of these inner antipodes, there are few external: the
treatment and the reception of this production in WE, which it self
appeared another specific antipode on the broader social level:
Europe Rediscovered, Copenhagen 1994, 4th Istanbul Biennial
1995, Manifesta. The New European Biennial in Rotterdam 1996
and Luxembourg 1998, and in Ljubljana 2000, and After the Wall
in the Moderna Museet in Stockholm are speaking about the denial
of the discourses east-west, west-west, or east-east. But,
simultaneously that same Europe is building another not wall, but
rather castle around it self manifested through new metaphors:
in-European Union out of-European Union, in-International
Monetary Fund out of-International Monetary Fund, and finally,
in-NATO out of-NATO. Hence, did the Berlin Wall indeed fall?
(1999a)

Because they [intellectuals, cultural practitioners and
artists] have to agree with the actual situation which is rather
apocalyptic, since they have no other choice, and to accept this, what
they can do is to take it and to re-work it for their own intellectual,
cultural or artistic purposes. Alternatively, instead of the former:
Take the money and run they have to practice Take the money
and work if they want not to decrease theirs intellectual, cultural
or artistic needs and to survive. Positioned like this, Macedonian
intellectual is in fact marginalized more than ever, but it is the only
tool to deconstruct the system from the inner side. Therefore, I do
not find this kind of censorship from the side of the foreign funds
and foundations, as repressive as it is always nominated, but rather
as a stimulating one. That is the kind of the acting way [instead of
modernistic action = revolution] in the present moment for the

local and the subaltern. Only through acting [= simply doing the
things] the local and the subaltern will increase her/his voice. Not
to become an other dictator or censor, but just to be able to speak.
Since the freedom is not only about the ability to speak, but also
about the ability to be heard, it seams that there is not other choice
than to accept the global framework of the globalizing process
dictated outside of society, as Bernard Tschumi used to write. In
addition, it is beyond any question of freedom or totalitarianism. It
is a question of intellectual surviving. The damages of this will be
matter of discussion in the future. (2000c)

Recently, Macedonian artists are more interested on
the artistic level of the interpretation of the every-day life and
the social and political environments. One can speak more about
the presence of the social and politics in the artists interests and
works of art, rather than the direct social and political impact in
a sense of socialisation or politicisation of art. Even that this
looks like, this has nothing to deal with Kantian expanded notion
of the aesthetic disinterestedness, which separates the interest
from the practical and conceptual realms (to be without interest
in the objects existence that transferred the focus of the aesthetic
experience to the perceiver and away from the work of art). Just
opposite, the recent disinterestedness is more related to the objectof-arts essence as a notion, as a conclusion and it refers more to the
lack of believe that something will be changed through the artistic
actions and by the role of art in the society. (1999b)

It is both this kind of art practice and the location of its
exhibit that expresses the new and specific role of the art in general
now days. Concerning the projects included in the gallery they are all
dealing with the sociality led trough a personal relation. Moreover,
they can be defined as a small narratives that are easily shifted
to a personal narratives. They are speaking about dismissed
expectations of the projected role of the art and the artist [the one
from the past] today: it is a sign that marks that the producing art
went further towards behavioring artistically, maybe even further
towards the aesthetical behavior in the everydayness of the artist.
The simplicity based on the note of this disburdened approach and
understanding, usually effects reaction of the public followed by
the conclusive question is this art. But, the disappearance of the
traditional notion of what art has to deal with and how, builds more
democratic role of it: it emphasizes the equalization of the high and

low arts and cultures. The very early fear of this process was argued
by the possibility of art to become more trivial, even to disappear.
As a result, the art confirmed just the opposite: all of the hypothesis
that were claiming this disappearance, or the end, or even the death
of the art showed that the item that is dying is not the art it self, but
rather the traditional definition of art. (2001a)

But, the statement about the relation of the art with the
actuality in Macedonia almost provides several streams in the recent
art production. The first refers on the committed attitude towards
it, by which the commitment is characterized by its conclusivity, the
second one refers to the actuality through the small narratives
characterized by the appearance of the formulations connected
with the artists privacy and intimacy, and the third one refers to
the disinterested relation with the actuality, but deeply reaching its
essence. (2001b)
References:

Vili, Neboja (1997) Texts, pref. in: Texts aneta Vangeli & Stanko
Pavleski. Skopje and New York: SCCA Skopje and La MaMa.
Vili, Neboja (1999a) HIC ET VBIQVE VS. PRAE ET POST, pp. 53-5 in
Bojana Peji and David Eliot (Eds) After the Wall. Art and Culture in
post-Communist Europe. Vol. I. Stokholm: Moderna Museet.
Vili, Neboja (1999b) Both Sides Now: Eastern and Western Art.
Clearing up the Differences in Advance!?, pp. 99-104 in 1. Kongress
zur Kunst und Kunstvermittlung in Mittel- und Osteuropa. Stuttgart:
IFA.
Vili, Neboja (2000a) Public-Private-Social. [unpublished text]
Vili, Neboja (2000b) Getting Out. Artist vs. Society, symposium PublicPrivate, Bratislava. [unpublished text]
Vili, Neboja (2000c) Falsher Pragmatismus!? Intrakulturalismus statt
Multikulturalismus, pp. 40-2 in Die Intelektuelle Konterrevolution.
Wienna: IG Kultur sterreich.
Vili, Neboja and Jane alovski (2001a) Accumulations: Art, Market,
Changes and Other Joyful Stories, pref. in Month of Macedonian
Contemporary Art. [Exhibition catalogue] Zagreb.
Vili, Neboja (2001b) Vesna Dunimagloska: The Dancer. [Pref. in
exhibition pre-catalogue] Skopje: 359.

10

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