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Anti-mimetic performances: between traces and disfiguration (experimental positions in Yugoslav and Croatian photography)

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  • Andrej Mircev

Abstract

Focusing on the artists Ivan Ladislav Galeta (1947–2014) and Željko Jerman (1946–2006), the text examines two performative strategies of manipulation with the materiality of the photographic medium. This manipulation resulted in the reconfiguration of the mimetic relation with reality, usually associated with photography. While Galeta experiments with the expanded notion of photography and creates works in which visual identities of people are being destabilized through a meticulous process of dissolving and juxtaposing layers of different images in the photo-lab, Željko Jerman is using photo-chemicals to produce texts and traces on the sensitive photo paper. In an attempt to decipher how this type of performative approach to photography questions and subverts not only the medium and materiality but how it addresses socialist society, especially its aesthetic regime (and its subsequent political ideal), the text outlines a possible anti-mimetic notion of photography. In other words, the deconstruction of mimetic and imitative qualities of photography is reflected in relation to its political and social consequences.

Suggested Citation

  • Andrej Mircev, 2019. "Anti-mimetic performances: between traces and disfiguration (experimental positions in Yugoslav and Croatian photography)," Journal of Contemporary Central and Eastern Europe, Taylor & Francis Journals, vol. 27(1), pages 63-79, January.
    • Handle: RePEc:taf:cdebxx:v:27:y:2019:i:1:p:63-79
    DOI: 10.1080/25739638.2019.1643069
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