Issue 2

According to psychologists and psychoanalysts who have worked on colonial trauma and its consequences, colonial violence and the diverse forms of its heritage are defined by “the disappropriation, the deprivation of one’s own (language, history and culture)”.

We can speak of three major historical moments when revolutionary movements became global by transcending national borders in unexpected ways: 1848, 1968, and 1989.

As there is no interest within the university system to explore SFRY, it took a group of independent organisations (dealing with contemporary art and critical theory) to initiate a large scale project for re-thinking the “political practices of (post-)Yugoslav art.”.

Yaşantı and deneyim – these two words, often used interchangeably to mean “experience,” are terms which signaled a concept quite new to Turkish culture. Until recently, up until the 1950s, Turks did not have experience; they had life as flux [hayat] or a predestined term [ömür].

While Russian Constructivism and Stalinist architecture are familiar enough to an interested public in Austria, knowledge of Soviet Modernism in the postwar period is still limited. This applies especially to urban planning in peripheral regions.

The project mainly concentrates on the still underexposed global cultural shift in the 60s and its effects in countries that were omitted in the historical explorations of that particular revolutionary period; situations that were developing beyond the, so to say, “Prague Line.”