New Slovenian Art

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NSK emblem (1984)

New Slovenian Art ( NSK ) is a political art collective from Slovenia . The movement was founded in Ljubljana in 1984 when Slovenia was still part of Yugoslavia .

The main groups of the NSK were / are the band Laibach , the painting collective IRWIN , the theater group NOORDUNG (formerly Gledališče Sester Scipion Nasice / Theater of the Sisters Scipion Nasice), the graphic and design studio Novi Kolektivizem (NK) and the department for pure and applied philosophy .

The concept and style of New Slovenian Art (NSK) are generally referred to as “retro avant-garde”.

Foundation and development

The NSK organizational structure in 1984

In 1984 the three artist groups Laibach , IRWIN and Gledališče Sester Scipion Nasice (later: NOORDUNG ) merged to form the art collective “New Slovenian Art”. Further (sub) groups were subsequently formed on a case-by-case basis and often only temporarily, whereby the three aforementioned groups, together with the department for pure and applied philosophy and the design studio Novi Kolektivizem, were the main driving forces within the collective.

In addition, the following groups existed at least temporarily:

  • Kozmokinetično Gledališče "Rdeči Pilot" / Cosmokinetic Theater "Red Pilot" (Theater)
  • Dramski Observatorij "FIAT" (theater)
  • Baletni Observatorij "FIAT" (dance and ballet)
  • Baletni Observatorij "ZENIT" (dance and ballet)
  • Retrovizija (film)
  • Graditeldi / The Builders (architecture, urban development and furniture design)

According to its artistic approach of being “more total than totalitarianism”, the NSK always gave itself strongly hierarchical, strictly organized and collective / state-like forms in its programmatic texts and its overall external appearance. The NSK consciously negated the artist as an individual:

“Art and totalitarianism are not mutually exclusive. Totalitarian regimes abolish the illusion of revolutionary individual freedom in art. Laibach art is the principle of conscious renunciation, personal taste, judgment, conviction ... Free depersonalization, voluntary assumption of the role of ideology, unmasking and recapitulation of the regime - postmodernism ... "

- Laibach : Excerpt from the declaration of membership (1982)

With this artistic approach, the NSK consciously set itself apart from the rest of the subculture of the early 1980s in Yugoslavia , which was more shaped by alternative groups influenced by punk .

NSK State Generator
Installation by the IRWIN
Retroprincip group, Berlin (2003)

The strict and state-like structures demonstrated to the outside world were largely purely symbolic and only served to illustrate this artistic approach. The NSK organization chart, which is not dissimilar to a schematically depicted government apparatus, showed not only the actually existing groups but also “virtual” organizational units such as B. at the top of the overall organization the "immanent consistent spirit", steering and controlling bodies such as a "convention" and a "general council" or at the base of the structures an alleged "operations research office", which among other things has an "executive authority ( technical basis) ”as well as a“ court without decision-making authority ”should be subject.

This state-like principle is continued in the anonymous and partly uniformed appearance of the artists as well as the fact that the group communicated to the outside world exclusively in the form of prefabricated manifestos and statements:

"Communication through non-communication - one transmitter and a multitude of receiver"

"Communication through non-communication - one sender and a multitude of recipients"

- Laibach : perspective

The striving for a totalitarian external image also explains the German-language name “New Slovenian Art” and the widespread use of the German language in all of its artistic areas (cf. Laibach ).

Concept and artistic self-image

The "retro avant-garde" principle

Today, the artistic principle of the NSK is mostly referred to as retro-avant-garde , with the different groups sometimes using slightly different and expanded formulations. Because of their strongly political approach , Laibach speak of monumental-retro-avant-garde , whereas IRWIN describe their more aesthetic-historical-oriented way of working as a retro principle and, in connection with the religious-psychological approach of Gledališče Sester Scipion Nasice (today: NOORDUNG ) mostly of retrogarde is spoken.

“Retro avant-garde is the basic artistic approach of New Slovenian Art . It is based on the premise that past traumas affecting the present and the future can only be healed through a return to the original, triggering conflicts. Modern art has not yet overcome the conflict that arose from the […] assimilation of the historical avant-garde movements into the systems of totalitarian states. The usual perception of the avant-garde as a fundamental phenomenon of the 20th century is fraught with fears and prejudices. On the one hand, this period is naively glorified and mystified, while on the other hand its abuse, compromises and mistakes are counted with bureaucratic accuracy to remind us that such a grandiose delusion must never be repeated. "

- Irwin (1993)
BUY VICTORY
poster Laibachkunst (1987)

Following this concept, the works of the NSK are characterized by the use of symbols , signs, quotes, catchphrases, pieces of music, images and icons from a wide variety of artistic and political-historical contexts, in particular the totalitarian ideologies of the 20th century. These are linked with one another in a way that often appears to be contradictory. Through the accompanying complete abolition of a tangible context, the viewer should be encouraged to reflect on the effect on himself, the subconsciously conveyed content and his own point of view.

The elements cited by the NSK come mainly from the Russian avant-garde, Kazimir Malevich's suprematism, as well as socialist realism , Christian iconography, Slovenian cultural heritage, fascist and Stalinist art and propaganda , right through to elements of modern and postmodern Western aesthetics and kitsch .

Massive eclecticism

The NSK's working method described presupposes a ruthless appropriation of material from the most varied of origins and their processing for their own purposes, i.e. the artistic ready-made in the sense of Marcel Duchamp and Joseph Beuys . The NSK justifies this as a natural way of working by artists from small nations, pointing out that there has never been a specifically Slovenian art anyway and the planned recourse to other art forms is therefore inevitable. Beyond this specifically national context, the NSK's eclecticism is also based on the artistic stance that a work of art is not primarily to be understood as an individual expression of the artist, but always as a function of earlier works of art and thus “only one point in an infinite” Network of historical references ”.

This conscious process of constant repetition and reprocessing shows, in addition to the exorcistic element, the psychoanalytic element of the NSK's way of working.

Affirmative over-identification

The principle of the “retro avant-garde” describes the basic approach of creating a changed, de-contextualized or recontextualized product by removing these artistic and ideological elements from their traditional context. In the works of the NSK, however, this does not happen with the aim of irony, satire, exaggeration or critical distance, but - on the contrary - with the aim of "affirmative over-identification". The Slovenian philosopher Slavoj Žižek , whose Slovenian Jacques Lacan School inspired the NSK with regard to its interpretation of the symbolic as well as its ideas on ideology and postmodernism , described this unusual, seemingly exorcistic approach as “crossing the phantasm”.

The NSK did not adopt the usual liberal approach of the historical avant-garde movements, but rather deliberately simulated their corruption by totalitarian systems in their works:

"All art is subject to political manipulation [...], except for that art which speaks the language of this same manipulation."

"All art is subject to political manipulation [...], with the exception of art that speaks the language of the same manipulation."

- Laibach : 10 items of the covenant (1982)
Laibach (1983)

The radical and ambivalent approach of "over-identification" culminates in the totalitarian, uncommunicative and sometimes martial staging of the works of art, especially by the LAIBACH group and the associated externally represented claim to absoluteness, which in turn is a symbolic appropriation of the functioning of totalitarian ideologies and regimes represents:

"Our freedom is the freedom of those who think alike."

"Our freedom is the freedom of those who think alike."

- Laibach

"We [...] are the engineers of human souls."

"We [...] are the engineers of the human soul."

- Laibach : Based on a sentence by Josef Stalin , in which in 1932 he acknowledged Stalinist authors and artists as “machinists of human souls”.

The recipient is supposed to be overwhelmed by the exaggerated effect - in order to then experience all the more intensely that what is shown is ultimately a “nothing”, a dysfunctional ideology, a contradiction in terms, in order to allow for a mental debate with what is shown promote. With the exception of the artistic context set by the NSK, empty set pieces and fragments of ideology remain, which can be experienced in the “complete dullness of their material presence”. (Žižek):

"Laibach are not an answer - they are a big questionmark."

"Laibach are not an answer - they are a big question mark."

- Slavoj Žižek (1993)

"OBSERVATORY does not reflect, OBSERVATORY does not destroy, OBSERVATORY just witnesses destruction!"

"OBSERVATORY does not reflect, OBSERVATORY does not destroy, OBSERVATORY only testifies to destruction!"

- The cosmokinetic theater "Roter Pilot" about their production "OBSERVATORY"
Laibach (2003)

The strategy described does not only apply to the works of art themselves. The NSK artists consistently played their roles within the structure they created and left the recipient completely in the dark about the underlying concept:

"We are as much fascists as Hitler was a painter."

"We are as many fascists as Hitler was a painter."

- Laibach : When asked directly whether they were fascists

“We are artists and not politicians. When the Slavic question is resolved once and for all, we want to finish our lives as artists. "

“We are artists and not politicians. When the Slavic question is resolved once and for all, we want to end our life as artists. "

- Irwin : Alluding to Adolf Hitler's sentence that he was actually an artist and not a politician and would end his life as an artist once the “Polish question” was resolved

Despite its deconstruction and dismantling of the original material, the aim of the NSK is not to be understood as total criticism and rejection. Her works should not criticize or accuse the ruling systems and ideologies, but rather, through over-affirmation, show their hidden mechanisms and premises, which are not accessible to "conventional" criticism:

“In this sense it [the strategy of Laibach / NSK] appears in a new light: It“ frustrates ”the system (the ruling ideology) precisely in that it is not its ironic imitation, but the over-identification with it - the The efficiency of over-identification is that it brings out the obscene superego on the underside of the system. "

- Slavoj Žižek : Why are Laibach and NSK not fascists?

The "NSK State"

NSK Passport Passport
documents of the virtual NSK state (1992)

In 1992 the NSK declared its transformation from a collective into a state (“State in Time”). This state should have "no borders and no territory", but should be understood as an "abstract organism and suprematist body".

The virtual NSK state then symbolically issued identification documents to members and supporters of the NSK. At the same time, embassies, consulates and passport offices were set up in Ljubljana , Moscow , Berlin , Sarajevo , Florence , Milan and Umag, as well as on the Internet , on a temporary basis and as required . In addition, the virtual currency "NSK" existed for a time, and its own postage stamps and even nationality symbols were issued for vehicles.

"Art is fanaticism that demands diplomacy."

"Art is fanaticism that requires diplomacy."

- NSK (1992)
NSK State Berlin (1993)

On certain occasions, the NSK state also temporarily proclaimed certain territories as “state territory”. B. as part of the event "NSK State Berlin" in 1993, the entire building of the Volksbühne in Berlin .

According to unconfirmed reports, there should people be able repeatedly to cross with their NSK passports international borders - that in particular the issue of NSK passports as part of the "NSK Drzava Sarajevo" event in the competitive to Sarajevo 1994/95 numerous particular Bosnian nationals to leave from the civil war-torn country.

In addition to its purely symbolic character, the NSK state also served as a platform for international projects, particularly for the IRWIN group , such as B. “NSK Embassy Moscow” (1992), “Transnacionala - A Journey from East to West” (1996) and “EAST ART MAP” (2002).

At the beginning of the new millennium, the idea of ​​the NSK state also developed a dynamic life of its own: While in the 1990s there was still a strict separation between the actual NSK artists (i.e. NSK members) and the merely passive ones with regard to the NSK state NSK “citizens” existed, these boundaries became increasingly blurred after the turn of the millennium. Based on forums and platforms created by NSK supporters on the Internet, in addition to blogs and the like. In the same way, joint actions by NSK members and NSK “citizens” and finally also activities in the spirit of the NSK state, which were only initiated and carried out by NSK “citizens”. In addition to the official works and actions of the NSK, a number of activities arose that can only be described as meta- or pseudo-NSK. Corresponding activities were and are accepted by the "official" NSK and in some cases also promoted, but are to be understood as a new, independent and dynamic phenomenon and have been collectively referred to as "Volk Art" for some time. In 2007, an embassy of the NSK state was opened in Reykjavík , which was authorized by the NSK, but no actual NSK member was involved in its initiation and implementation.

In the new millennium there was also an unwanted collision between the idea of ​​the virtual NSK state and global citizenship realities: the Internet presence of the NSK state made an enormous number of people from Nigeria apply for NSK citizenship within a short time , apparently in the real belief or at least in the hope of being able to legally enter Slovenia or the EU with these documents. With the aim of clarifying the purely symbolic-artistic background of the documents, members of the IRWIN group met with some of the applicants for talks in London in May 2007. It turned out that numerous applicants were well aware of the purely symbolic character of citizenship and passport documents, but that they still had at least a “symbolic hope for a better life” attached to it. The events documented in a significant way the paradoxical parallel reality of the NSK state. Parts of the correspondence between applicants and the "NSK State" as well as excerpts from the discussions held by IRWIN were published in 2008 as part of the NSK State in Time exhibition in Aarhus and on the Internet under the title Words from Africa .

Effect and criticism

Reception in the 1980s

Yugoslavia

Through the massive use of totalitarian and otherwise ideologically meaningful signs and symbols and their totalitarian appearance, the NSK repeatedly caused provocations, misunderstandings and confusion. In particular, the early days of the collective in socialist Yugoslavia were marked by political controversies and event bans.

Europe and North America

In Europe and North America, too, the group was taken up as problematic in the 1980s, whereby the ambivalence of their artistic expression led to them being viewed as presumably neo-Nazi / fascist in Western Europe (especially in Germany), similar to Yugoslavia and the Eastern Bloc states , whereas they were suspected of “communist subversion” in the USA .

The "poster affair" in 1987

In 1987 a scandal broke out after a competition draft of a poster submitted by the NSK design studio Novi Kolektivizem for the "Youth Day" celebrated every year on Tito's birthday in Yugoslavia was initially chosen as the winning design. The design showed a torchbearer who carried a standard with the Yugoslav flag and a dove of peace next to a torch . Only in retrospect did it become clear that the design of Novi Kolektivizem corresponded almost completely to a picture by the National Socialist German artist Richard Klein , and only the flag of the German Empire had been replaced by the Yugoslav flag and the imperial eagle on the standard by a dove of peace .

NSK and the independence of Slovenia

Laibach (2011)

The provocations of the NSK against the Yugoslav regime of the post- Tito era had, as expected, led to corresponding reactions from the state, but at the same time also heightened the awareness of intellectual circles and the general population of the questions raised by the NSK. In the aftermath of the upheavals in the Balkans and the independence of Slovenia in 1991, the NSK was therefore assigned the role of a “catalyst” for these political upheavals, especially in Slovenia. To what extent this is actually true is difficult to assess.

What is certain is that the groups of the NSK have lost their role as provocateurs and intellectual arsonists in Slovenia since then at the latest. The LAIBACH group in particular has now become a positive figurehead for the country and a cultural export hit. Among other things, it appeared in 1997 at the official celebrations for the "European Cultural Month" in Ljubljana and in the Slovenian pavilion at the EXPO 2000 world exhibition in Hanover.

In the same way, due to the more intensive examination of the topic, the allegations of fascism in Western Europe and the USA also disappeared , so that the NSK is today predominantly perceived objectively as an art phenomenon.

NSK today

Transnacionala (NSK-Passport Office) - Installation by IRWIN, Retroprincip exhibition, Berlin (2003)
Red Districts - Exhibition Laibachkunst 1980–2010, Trbovlje (2011)

With the dissolution of the Yugoslav state, the collapse of the Eastern Bloc , German reunification and European integration , large parts of the originally relevant topic complexes of the NSK initially seemed to have been lost and its artistic approach therefore seemed irrelevant in the future. The groups LAIBACH and IRWIN , which are still mainly active today , therefore opened up to other topics from the mid-1990s onwards, but strictly retained their basic concept and working method and / or increasingly also worked in a self-referential manner (" ars gratia artis ").

In addition to the thematic opening to new subject areas, the NSK also increasingly opened up in its external presentation. Both the groups themselves and their works are now much more accessible and have made LAIBACH and IRWIN in particular known to a broad international audience, with both groups now working more independently of one another. The theater group NOORDUNG by theater director Dragan Živadinov and the department for pure and applied philosophy under Peter Mlakar are also still active, but are less of a public focus.

The NSK is rarely active as a higher-level organization, most recently in 2010 as part of the “First NSK Citizens' Congress” in Berlin, in which not only NSK artists but also “citizens” of the virtual NSK state from all over the world took part.

literature

  • Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991.
  • Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie , Regensburg 2002, ISBN 961-90851-1-6 .
  • Alexei Monroe: Interrogation Machine - Laibach and NSK. Massachusetts Institute of Technology, Cambridge 2005, ISBN 0-262-63315-9 .
  • Alexei Monroe: Laibach and NSK - The Inquisition Machine in Cross Examination. Ventil Verlag, 2014, ISBN 978-3-95575-001-5 (German)
  • NSK (Ed.): NSK 1993-1994. NSK Information Center, Ljubljana 1994.
  • Zdenka Badovinac / Eda Cufer / Anthony Gardner (eds.): NSK From Kapital to Capital , Moderna galerija Ljubljana / The MIT Press, Ljubljana 2015, ISBN 978-0-262-02995-7
  • Naomi Hennig / Viktor Skok (eds.): Exhibition LAIBACH KUNST - Rekapitulacja / Recapitulation 2009. Muzeum Sztuki, Lodz 2009.
  • Inke Arns (Ed.): IRWIN RETROPRINCIP. (Exhibition catalog), Revolver / Archive for Current Art, Frankfurt 2003, ISBN 3-936919-51-8 .
  • IRWIN (Ed.): State in Time , NSK Information Center / Dolenjski Muzej, Ljubljana 2012, ISBN 978-961-6306-41-6
  • Eda Čufer (ed.): NSK Embassy Moscow - How the East sees the East. Loza Gallery, Coper 1992.
  • IRWIN (Ed.): Thzy projekty / Three Projects. Centrum Sztuki Waspolczesnej / Center for Contemporary Art, Warsaw 1999, ISBN 83-85142-49-5 .
  • Peter Mlakar: Speeches to the German Nation. Turia & Kant publishing house, Vienna 1993, ISBN 3-85132-040-9 .
  • Darko Pokorn (Ed.): Oblikovanje: Novi Kolektivizem / Design: New Collectivism. Moderni galeriji / Museum of Modern Art, Ljubljana 1999.
  • Mike McGee & Larry Reid: Charles Krafft's "Villa Delirium" , Grand Central Press, Santa Ana 2002, ISBN 0-86719-574-6 .

Movies

  • Michael Benson: Predictions of Fire - A film about art, politics and war , Kinetikon Pictures 1996
  • Peter Vezjak: Bravo - Laibach v Filmu , Dallas DOO, Ljubljana 1993
  • Radio Slovenia: Laibach - Occupied Europe Nato Tour 1994-95 , Mute Film, London 1996

Web links

Individual evidence

  1. ↑ Darko Pokorn (Ed.): New Slovenian Art. Graficki zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 15 ff.
  2. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 79 ff.
  3. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 161 ff.
  4. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 267 ff.
  5. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 211 ff.
  6. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, pp. 185 ff.
  7. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, pp. 188 ff.
  8. ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 196 ff.
  9. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 227 ff.
  10. ↑ Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 249 ff.
  11. ^ Boris Groys: The Irwin Group: More total than Totalitarianism. In: IRWIN: Kapital (exhibition catalog) , Ljubljana 1991.
  12. ↑ quoted from Darko Pokorn (ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991.
  13. ↑ a b Laibach: Rekapitulajica 1980-84. Audio CD / booklet, Walter Ulbricht Schallfolien AG, Hamburg 1985.
  14. ^ Organizational and functional principle of New Slovenian Art. In: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 21.
  15. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 23 ff.
  16. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 18 ff.
  17. ↑ Interview with Miran Mohar (IRWIN), http://www.ljudmilla.org/embassy/3b/retro.htm  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. quoted from Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 17, FN 24.@1@ 2Template: Dead Link / www.ljudmilla.org  
  18. ↑ Eda Cufer & Irwin: NSK State in Time (1993); in: Irwin. Zemljopis Vremena / Geography of Time ; quoted from Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 17.
  19. ^ Peter Weibel: Problems of Neo-Modernism. Quoted from: Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 103f.
  20. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 85 ff.
  21. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002.
  22. ↑ quoted from Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 14, FN 18.
  23. ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991, p. 43 ff.
  24. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 166.
  25. ↑ Interview with Slavoj Žižek. In: Peter Vezjak: Bravo - Laibach v Filmu , Dallas DOO, Ljubljana 1993.
  26. ↑ a b Darko Pokorn (Ed.): New Slovenian Art. Grafički zavod Hrvatske (Zagreb) in collaboration with Amok Books (Los Angeles), Zagreb 1991.
  27. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 93.
  28. ↑ Inke Arns: IRWIN RETROPRINCIP (exhibition catalog), Revolver / Archive for Current Art, Frankfurt 2003, p. 52 ff.
  29. ↑ a b c NSK: NSK 1993-1994. NSK Information Center, Ljubljana 1994.
  30. ↑ a b LAIBACH: Ljubljana-Zagreb-Beograd, CD booklet, Mute Records, London 1993.
  31. ^ Sarajevo under Siege and Diplomatic Immunity. In: Mike McGee & Larry Reid: Charles Krafft's "Villa Delirium" , Grand Central Press, Santa Ana 2002, pp. 38 ff., 42 ff.
  32. ↑ IRWIN / Dragan Sakan (ed.): East Art Map - A (Re) Construction of the History of Art in Eastern Europe. In: New Moment No. 20 (New Moment Magazine), Ljubljana 2002.
  33. ↑ IRWIN (ed.): State in Time, NSK Information Center / Dolenjski Muzej, Ljubljana 2012, pp. 23, 24
  34. ↑ IRWIN (ed.): State in Time, NSK Information Center / Dolenjski Muzej, Ljubljana 2012, pp. 26, 27
  35. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 7 ff.
  36. ↑ DER SPIEGEL: Brown deer. Article about the staging of “Macbeth” at the Hamburger Schauspielhaus in cooperation with the LAIBACH group, Spiegel edition from August 31, 1987.
  37. ↑ Slavoj Žižek: Why are Laibach and NSK not fascists? quoted from: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 83 ff.
  38. ↑ Alastair Turner: The Yugoslaw collective New Slovenian Art and Their importance within the context of Yugoslaw and European history. Sheffield, 1988, p. 3; quoted from: Inke Arns: NSK - An analysis of their artistic strategies in the context of the 1980s in Yugoslavia , Museum Ostdeutsche Galerie, Regensburg 2002, p. 3.
  39. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 76 ff.
  40. ^ Inke Arns: NSK - An analysis of your artistic strategies in the context of the 1980s in Yugoslavia. Museum Ostdeutsche Galerie, Regensburg 2002, p. 168.
  41. ↑ Peter Vezjak: Bravo - Ljubljana v Filmu. Dallas DOO, Ljubljana 1993.
  42. ↑ TV Slovenia (SLO2): Otvoritveni concert if Evropskem mesecu kulture
  43. ↑ SPIEGEL online http://www.spiegel.de/reise/aktuell/nationentag-das-programm-von-slowenien-a-80054.html
  44. ^ First NSK Citizens' Congress - Berlin 2010. In: nskstate.com. Accessed July 6, 2019 .