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Lookup NU author(s): Dr James RidingORCiD
This is the authors' accepted manuscript of an article that has been published in its final definitive form by Sage Publications Ltd., 2017.
For re-use rights please refer to the publisher's terms and conditions.
This essay on the work of the Bosnian artist Mladen Miljanović, born in Zenica, Yugoslavia, in 1981, is wrought around an account of the divided place in which his art is mobilised. Following a short military term, Miljanović enrolled at the Academy of Arts, in Banja Luka, where he still lives. A potent opposition to a divisive ethno-nationalist politics ever-present in the post-conflict, post-socialist, transition era of Bosnia-Herzegovina, Miljanović deploys what he calls an artistic-military practice. Incorporating cartographic and military surveying techniques learnt at a reserve officer military school, Miljanović deconstructs his own soldierly past and interrogates, through his artistic-military practice, an ethno-nationalist militarised Bosnia-Herzegovina. I focus in the main here on the artist’s recent attempt to represent post-conflict Bosnia-Herzegovina at the 55th Biennale di Venezia, a granite triptych entitled, The Garden of Delights.
Author(s): Riding J
Publication type: Article
Publication status: Published
Journal: Cultural Geographies
Year: 2017
Volume: 24
Issue: 1
Pages: 171-180
Print publication date: 01/01/2017
Online publication date: 12/05/2016
Acceptance date: 15/04/2016
Date deposited: 25/09/2019
ISSN (print): 1474-4740
ISSN (electronic): 1477-0881
Publisher: Sage Publications Ltd.
URL: https://doi.org/10.1177/1474474016647372
DOI: 10.1177/1474474016647372
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