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Dr Goran Petrovic - Lotina

Goran

School of Creative Arts, Performance and Visual Cultures

Email: goran.petrovic@warwick.ac.uk

Room F208, Millburn House University of Warwick,

Coventry, CV4 7HS.

About

Goran Petrović-Lotina is a theorist and curator in visual and performing arts. He is Research Fellow at the University of Warwick's Institute of Advanced Study & Department for Theatre and Performance Studies, exploring the relationship between performance and populism; Visiting Professor at Sciences Po Paris Institute of Political Studies, where he launched a course on performance and politics; Founder and Co-curator of Fogo Island Film, a long-term project concerned with the diversity of relationships between nature and society, which takes place annually on Fogo Island in Canada; and, a member of AICA: The international Association of Art Critics.
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Qualifications

  • PhD in Performance Studies from Ghent University
  • Master Degree in Arts and Politics from Sciences Po Paris
  • Master Degree in Art History from the University of Belgrade

Awards/Grants

  • IAS WIRL Marie Skłodowska-Curie Cofund fellowship grant (2019/21).
  • CWO Commission Scientific Research Belgium (2014-19).

Research Interests


My research is interdisciplinary in nature. I combine political philosophy and performance studies to examine the political dimensions of civic and artistic performances. My main field of inquiry is to explore how performance practices contribute to contesting dominant politics and invigorating democracy. I find inspiration in contemporary theories of conflict, democracy, populism, strategy, and discourse, and have published around these topics in different journals and books.

Publications (selection)

I have consolidated my recent research findings in my forthcoming book Articulations. Choreography & Collectivity (2020). The main issue addressed in this book is the political dimension of performance. My observation starts with the recent civic performances from the European left-wing political spectrum (civic movements, protests, and actions), and the distinct strategies that they employ to contest neoliberalism (withdrawal, rupture, engagement). I then inspect the differential politico-philosophical models of democracy that emanate from these performative strategies (absolute democracy, communal anarchism, agonistic democracy). Thereupon, I examine in which ways these models of democracy inform formulations of the political dimension of artistic performances (with a focus on contemporary dance). On the basis of this analysis I distinguish between the post-representational and representational political discourses in performance theory, introduce the relation of tension between them, and advocate an indispensable moment of articulation of the former into the latter. I suggest that the moment of articulation is necessary for overcoming the dualism of positions on the political left and constructing democratic forms of collectivity. To support such a claim, I take lead from the distinct currents of continental philosophy (Deleuze, Derrida), theory of democracy (Virno, Rancière, Mouffe), populism (Laclau), psychoanalysis (Lacan), phenomenology (Merleau-Ponty), strategy (Jullien) and performance theory (Kunst, Lepecki, Fischer-Lichte).

In “Performance and Populism. Articulating Popular Forms of Collectivity” (The Oxford Handbook of Performance and Politics, edited by Milija Gluhović, Silvija Jestrović, Michael Saward and Shirin Rai. Oxford: Oxford University Press, 2020) I engage with the recent populist movements, theories of populism, and theoretical formulations of the crowd on the political Left, to explore imaginary ways of articulating popular forms of collectivity through artistic performances (Rimini Protokoll). I envisage populism as a performative practice of articulation of the multitude (Spinoza; postoperaists) into the people (Hobbes; post-foundationalists).

In "Theatricality: A Dramatic Form of Contesting Spectatorial Codes" (Performance Research, 24 : 4 (2019): 68-75), I envisaged the moment of encounter between the spectator and the performing body in terms of tension or drama that challenges sedimented spectatorial codes: the ways spectators understand objects and forms of identity that are performed. This view recognises an indespensible moment of articulation of affects into representations in these processes.

In “Reconstructing the Bodies: Between the Politics of Order and the Politics of Disorder” (in: Shifting Corporealities in Contemporary Performance: Danger, Im/mobility and Politics, edited by Marina Gržinić and Aneta Stojnić, 143-163. London: Palgrave Macmillan, 2018), I engage with Jacques Rancière's model of communal anarchism that implies the strategies of rupture and Chantal Mouffe's model of agonistic democracy that implies the strategies of engagement and demonstrate what effects these strategies have on formulating the political dimension of artistic performances. Taking historical avant-garde as point of reflection, I show that the former strategy does not provide conditions for envisaging the contesting political dimension of performance.

In “The Political Dimension of Dance” (Performing Antagonism: Theatre, Performance and Radical Democracy, edited by Tony Fisher & Eva Katsouraki, 46:66. London: Palgrave Macmillan, 2017), I engage with Ernesto Laclau and Chantal Mouffe's political philosophy to examine the relevance of their key concepts, discourse, a(nta)gonism, and hegemony, for performance studies, with a particular focus on the body in contemporary artistic choreography.

Curatorial projects (selection)

2018 - FOGO ISLAND FILM: RESISTANCE AND RESILIENCE (multi-annual screening and lecture programme on nature and society). Founder and co-curator, together with Alexandra McIntosh. Fogo Island, Canada.

2016 IDENTIFICATIONS, Fogo Island Arts, Canada. Participants: Chantal Akerman, Manon de Boer, Marta Popivoda, Frederick Wiseman.

2015 REAPPEARING THINGS, Kunsthalle Vienna.

2014   DISAPPEARING THINGS, at The 55th October Salon, Belgrade.

2011   NICOLINE VAN HARSKAMP AND SATCH HOYT, Kaai Theatre, Brussels. Advisor. Spoken World Festival.

2011 (UN)TRANSLATABILITY, Casa Vecina, Mexico City. Co-curator with Lasse Lau.

2009 SLAVS AND TATARS: HYMNS OF NO RESISTANCE, Kaai Theatre, Brussels. Advisor. Spoken World Festival.

2008 RECORDED IMAGES: REVISITING THE 70S, Art Gallery of South Australia, Adelaide.

2005/7 INQUIRY INTO REALITY: THE DISAPPEARANCE OF PUBLIC SPACE. Regional, 2 years, multimedia, 6- part, art project. Book. Production: Omen Theatre Belgrade. Museum of Contemporary Art Belgrade; Sarajevo Centre for Contemporary Art; Press to Exit Project Space Skopje; The Museum of Contemporary Art Banja Luka; Belgrade Cultural Centre.

2005 GENESTETIC: JOE DAVIS, O3one Gallery, Belgrade. Co-curator and co-organiser with Tatjana Orbović and Art Center Kapelica, Ljubljana, Slovenia.

2005 20/21 +, Press to Exit Project Space, Skopje, North Macedonia.

2004/5  20/21, Zvono Gallery, Belgrade, The Gallery of Contemporary Fine Arts, Niš, National Museum, Kruševac, Cultural Center, Pančevo, Serbia.

2000 NIJEDAN DAN BEZ CRTE (NULA DIES SINE LINEA). Gallery Grafički Kolektiv, Belgrade. co-curator, with Marija Vuković.

grants

Flemish Ministry for Culture, Sport and Media, ECF European Cultural Foundation, Pro Helvetia Swiss Cultural Program, Open Society Foundation, Steirischer Herbst, Serbian Ministry of Culture, City of Belgrade, Flemish Audiovisual Fund, Austrian Cultural Forum, City of Niš Serbia.

Other activities

2019/20 EXPERT. EU Funding Programme; European Commission: Education, Audiovisual and Culture Executive Agency.

2010/13 PROGRAMME MANAGER. Kran Film Collective, Brussels.

2009-11 ADVISOR. Spoken World Festival. Kaai Theatre, Brussels.

2003/06 PRODUCER. Omen Theatre, Belgrade.