Miško Šuvaković1
The Implications of Post-Transition 
for Art and Aesthetics
Abstract: In contemporary anthropology, art history and aesthet-
ics, the concept of transition is meant to signify and explain the hy-
brid set of changes that occurred in society, culture and the arts
following the fall of the Berlin Wall or, more accurately, after the
end of the Cold War. The assumption is that there is a relation of
contingency between art, culture and society, which may produce
the impression of a relation of causality.
Keywords: art, aesthetics, transition, post-transition 
UDK 7:111.852:316.323.6
Potranzicijske implikacije za umetnost in estetiko
Izvleček: V sodobni antropologiji, umetnostni zgodovini in estetiki
naj bi koncept tranzicije označeval in pojasnjeval hibridni komplet
sprememb, ki so se po padcu Berlinskega zidu ali, natančneje, po
koncu hladne vojne zgodile v družbi, kulturi in umetnosti. Tukaj je
predstavljena predpostavka, da obstaja odnos kontingence med
umetnostjo, kulturo in družbo, ki lahko naredi vtis, da gre za odnos
vzročnosti.
Ključne beside: umetnost, estetika, tranzicija, potranzicija
0     0     0
7
Moni tor  ISH (2017), XIX/2, 7–22
Izvirni znanstveni članek
Original scientific article
1 Dr. Miško Šuvaković is Full Professor at the Faculty of Media and Com-
munication, Belgrade, Serbia.  Email: miodragsuvakovic@gmail.com.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 7
state of emergency 
is 
my normal mode 
of 
life
In contemporary anthropology, art history and aesthetics, the
concept of transition is meant to signify and explain the hybrid set
of changes that occurred in society, culture and the arts following
the fall of the Berlin Wall or, more accurately, after the end of the
Cold War. The assumption is that there is a relation of contingency
between art, culture and society, which may produce the impression
of a relation of causality.
Today, “transition” typically signifies moving away – either grad-
ual, as in a crisis, or accelerated, as in a break – from Cold War, real-
socialist, state-socialist and self-managed society, culture and art
toward a reconstructed and, in certain cases, even restored bour-
geois society, that is, toward introducing and implementing liberal,
typically also national, capitalism.2
Beyond the context of Europe, the concept of “transition” serves
to signify political changes from the colonial to the postcolonial con-
dition of Third World societies and states.3 The postcolonial condi-
tion is viewed as a process of transition that enabled ethnic/national
and state-building liberation from colonisation and resulted in the
emergence  of  independent  or  partly  independent  Third World
states, whether liberal or real-socialist. With the conclusion of the
Cold War, the world entered yet another transition leading from real-
socialist postcolonial societies toward liberal or post-secular soci-
Miško Šuvaković
8
2 Todorova, 2010; Piotrowski, 2012. 
3 Godiwala, 2007.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 8
eties/states, whereby both liberal and post-secular societies have
faced re-colonisation by multinational corporations and ethnic, na-
tional, or religious antagonisms of decolonisation. By itself, the con-
cept  of  “decolonisation”  contains  another meaning  as  well:  the
critical-theoretical subversion of the postcolonial as a postmodern-
recolonising notion, in other words, confronting the economic, po-
litical and cultural limits of contemporary global biopolitics and
necropolitics4 applied to the transitional Third World.
One must carefully identify and differentiate between the con-
cepts of “reconstructed” and “restored”, because the differences be-
tween  them  are  almost  unnoticeable.  To  reconstruct  means  to
construct something anew, something that had been constructed
before and was then destroyed; furthermore, reconstruction pro-
ceeds with an insecure and uncertain vision of the future. Recon-
struction is defined by a desire for a new future that might exceed
that which is re-constructed. By contrast, restoration denotes the
renewal of something that had “organically grown” and was then
destroyed. When something is restored, it is renewed and consoli-
dated with a vision of an imaginary past, which is meant to be af-
firmed at every subsequent moment in the future.
In more detail: In everyday speech, the word “transition” denotes
the transformation of socialist or communist societies into liberal,
capitalist societies with parliamentary democracy, i.e. into demo-
cratic societies. In terms of government, “transition” is the transfor-
mation of people’s democracies led by the one-party “avant-garde of
the working class” to multi-party parliamentary democracies with
separate – legislative, executive and judiciary – branches of power.
In  terms  of  economy,  transition  denotes  the  transformation  of
economies based on social or state ownership into economies based
9
The Implications of Post-Transition for Art and Aesthetics
4Mbembe, 2003.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 9
on or dominated by private ownership. In geopolitical terms, “tran-
sition” signifies – paradoxically – the emergence of national states
(on the localising level) participating in the global economy and in-
formation system (the globalising level). In symbolic terms, transi-
tion begins by introducing a multi-party political system and ends
by implementing a total or near-total privatisation of state and social
property. In terms of the aesthetic, transition is the “pluralisation of
sensory regimes” ranging from media to spectacle production in
mass and global, market- and software-determined culture. In terms
of art, transition is a retreat from “artistic practices that are charac-
teristic of closed societies” into a global artistic practice with sus-
tainable  local  references.  On  its  way  from  real  socialism  to
contemporary global capitalism, transitional art switches between
various orientations, with specific narratives and relations with the
public organisation of contemporary forms of life:
• artistic practices featuring the deconstruction of socialist-realist,
socialist-modernist and socialist-postmodernist artistic practices;5
• art of the politics of difference,6 characteristic of postmodernity –
for instance, feminist, gender and queer art, postcolonial art, racial
art, artistic practices in the liminal zones of popular and high cul-
ture, etc.;
• technocratisation of contemporary artistic practices by linking
up with “creative industries”, “corporate art”, “therapeutic artistic
practices”,7 etc.;
• critical, subversive and activist artistic practices,8 as a reaction to
“post-politics”, i.e. to the liberal-postmodern transition from pol-
Miško Šuvaković
10
5 Erjavec, 2003; Irwin, 2006.
6 Foster, 1999, 140–141.
7 Chiu, Genocchio, 2010.
8 Klanten et al., 2011. 
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itics as a social practice to managerial policy-making in culture
and society;
• artistic practices at the time of the “return of the political”,9 i.e. in
the conditions of the global economic crisis, the domination of
political, media and cultural pluralism and establishment of local
autocracies.
To be sure, one may also depoliticise the concept of transition
and thereby point to “immanent artistic transitions”, for instance,
from functional bourgeois or real-socialist art to non-functional, i.e.
autonomous art.10 One may also apply the concept of transition to
changes in art in relation to the type of artistic or cultural11 cre-
ative/productive work – from manual via mechanical to electro-me-
chanical, analogue and digital work, i.e. mediation through media
in relation to social or cultural formats, etc.
Perhaps one could argue that transition was anticipated by the
concept of ending the “struggle for workers’ rights”12 – following
the collapse of the miners’ strike in Great Britain – during the sta-
bilisation of neoliberalism under Margaret Thatcher as prime min-
ister. One should not forget Thatcher’s famous slogan: “There is no
alternative!” One could interpret her assertion in two ways: either
there is no political or economic alternative to the contemporary
rise of neoliberalism or every future alternative practice will be ap-
propriated by the dominant neoliberal order and thereby trans-
formed into a social market-economic artefact.
Historically,  one  could argue  that  transition began with  the
1980s “singing” or “coloured revolutions” in the Soviet Bloc, which
11
The Implications of Post-Transition for Art and Aesthetics
9Mouffe, 2005, 1; Rancière, 2004.
10 Šuvaković, 2009.
11 Lovink, 2002.
12 Hall, 1988.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 11
culminated with the fall of the Berlin Wall, coming to an end at dif-
ferent moments of implementing privatisation from the early 1990s
to the mid 2010s. As a process of transition, post-socialism began
in post-communist Europe with numerous reform and revolution-
ary events, which led to the end of the Cold War. The very begin-
ning of that process was the crisis of the Polish state, provoked by
the activities of the anticommunist and pro-national-democratic
workers’ movement Solidarity (Solidarność), founded at Gdansk
Shipyard on 31 August 1980. The collaboration between the unions
and the Catholic Church triggered the Polish national revolution,
which ended with the Solidarity’s victory in the parliamentary elec-
tions of 1990. Soviet leader Mikhail Gorbachev’s project called “Per-
estroika” (Перестройка)  marked  the  beginning  of  democratic
reforms, which led to the transition from socialist to capitalist soci-
ety and the end of Soviet hegemony in Eastern Europe. Gorbachev’s
cabinet adopted the so-called Sinatra Doctrine,13 whereby the So-
viet Union stopped meddling in its allies’ internal affairs. This doc-
trine opened the way for the collapse of communism in a number
of Warsaw Pact member states and for the revolutions of 1989. The
Baltic States, which had been integrated into the USSR immediately
after the Second World War, saw the beginning of non-violent rev-
olutionary movements called “the singing revolution” between 1987
and 1991. The first mass manifestations of national  feelings oc-
curred at the Tartu Pop Music Festival on 14 May 1988. The term
“singing revolution” was then introduced by Estonian activist and
artist Heinz Valk between 10 and 11 June 1988. He gave that name
to the nightly demonstrations with singing organised at the Tallinn
Song Festival Grounds. These were mass demonstrations involving
around 300,000 Estonians, who gathered every night to sing na-
Miško Šuvaković
12
13 Kushlis, 2009.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 12
tional songs and anthems that were forbidden during the Soviet
era. Demands for independence were openly made at a music fes-
tival held in Tallinn on 11 September 1988. The so-called “Baltic
Way” or “Baltic Chain” was a non-violent political event involving
around  two million people  forming  a  human  chain  by  holding
hands across Estonia, Latvia and Lithuania on 23 August 1989. The
chain was around 400 miles long. It marked the 50th anniversary of
the Molotov-Ribbentrop Pact signed in 1939 by the USSR and the
Third Reich, when the Baltic States fell under Soviet control. Esto-
nia’s declaration of sovereignty was announced at a festival held on
16 November that year. When the Soviet army attempted to put an
end to the independence movement, which had been running for
four years by that time, Estonia announced the restoration of its in-
dependence. Following the announcement of Lithuania’s independ-
ence restoration act on 11 and 13 January 1991, the Soviet army
intervened, killing 14 civilians and arresting over a thousand peo-
ple. The action of erecting “Barricades” was a political action that
took place between 13 and 27 January 1991, as an act meant to stop
a potential Soviet intervention. Czechoslovakia’s pro-Soviet regime
was toppled in the “Velvet Revolution”, which saw revolutionary
turmoil and protests between 16 November and 29 December 1989.
The Romanian armed uprising, turning into a violent revolution,
occurred between 16 and 22 December 1989. China witnessed large
and violently suppressed protests between 15 April and 4 June
1989. Tiananmen, Beijing’s central square, was occupied by students
demanding the democratisation of China’s society. Etc.
One should also distinguish between the terms “transition” and
“revolution”,14 since the former involves a pragmatic and rational im-
plementation of controlled and gradual changes that have the char-
13
The Implications of Post-Transition for Art and Aesthetics
14 Egbert, 1970.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 13
acter of a consensual harmonisation of two distinct systems or mate-
rial practices according to established and mediated external criteria.
Whereas revolution denotes a sudden break producing radical,
which means essential and complete, changes of a given state of
affairs, transition signifies a gradual approximation of one system
or practice to another system or practice. The initial system or prac-
tice is thereby abandoned and transformed into another system or
practice – integrated into a differently ordered set of relations be-
tween that which is on the one hand and local and global public
opinion on the other. By contrast, revolution refers to the destruc-
tion of the structural order of a system or practice. According to
Antonio Negri, however, revolution is a creative transformation that
emerges  from resistance  to  the “dark and terrorist being of  the
state”. The factors of revolution – revolt, resistance and constitutive
power – are presented as a temporal event, an event in and with
time. As a temporal event, revolution shows that “revolt”, “resis-
tance” and “constitution” are related to time. Rather than a “space”,
time is a “phenomenon” connected to revolution: space is some-
thing one occupies, whereas time happens – just as a revolution
happens. A revolution is at once an event of insurrection and re-
sistance happening at a certain point in time that is necessarily
“contemporary” – a literal performance of that NOW. Revolution
constitutes a demonstration of the character of that contemporane-
ity – how contemporaneity acquires its meaning. Negri’s phrase
“time for revolution”15 may be understood not only in terms of a
point in time when a revolution should occur, but also in terms of
constituting revolutionary time.
Transition also effects a relocation and reorganisation – reinte-
gration – of one system and practice into another. In public opinion,
Miško Šuvaković
14
15 Negri, 2003.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 14
transition is presented as “gradual and justified progress” and not
in terms of explosive destruction giving rise to a new order. Tran-
sition is therefore an ideologically mediated order of events that
hide their real intentions. Due to the fetishisation of “progress”,
transition cannot be identified with restoration. Then, however, the
following question arises: does the concept of progress also involve
the concept or effects of emancipation as an important indicator?
A revolution occurs when there is a dominant feeling that there is
no time left and that everything must be settled now, whatever the
price. By contrast, restoration occurs when in public opinion there
emerges or is realised the feeling that we have gone too far in our
pursuit of the new and now find ourselves in unfamiliar territory,
that we must go back and seek safety in a domain of living and act-
ing bound by tradition. Transition emerges as a situation where we
are in control of time and are aware that things are solved gradually
– slowly – by proceeding by the smallest steps that will, by means
of accumulating life, economy and politics, eventually yield results.
In any case, it  is always an ideology that names and represents
“change” in a pragmatically instructive way!
However, the transition from real and self-managed socialism
to bourgeois, liberal society based on private property brought an
established order to an end and enabled the introduction of a new
order and reintegration in such a way that both orders found them-
selves in the situation of the “end of an order” – real-socialist and
liberal society alike. This concerns the tactics of “echo” (in roman-
ticist terms) or feedback (in pragmatic terms). In other words, the
transition involved not only the “political East”, but also the “polit-
ical West”. The end of an order appeared as an essential and total
change – where total means global, while essential means a whole-
sale change of system and practices from one set of forms of life to
an entirely different set. In the wake of the socialist and liberal order
15
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there emerged the hybridised order of global and mass economic-
representative  populism. Which means  that,  paradoxically,  the
mechanisms of transition appear as instruments that simulate rev-
olutionary expectations and effects in a global sense.
In this context, post-transitional society denotes a “normalised”
or “harmonised” society that has completed its transition from “so-
cialism” to “capitalism”, which means the establishment of
• a parliamentary democratic order,
• the domination of private ownership over state and social owner-
ship,
• the implementation of globalisation in terms of market economy
and media and communication.
Post-transition, hypothetically speaking, is not a stage of change,
but of reaching stabilisation by societies seeking to join the global
order; accordingly, for instance, Europe should no longer be divided
into Western and Eastern Europe in political-economic terms, which
also means cultural, i.e. artistic terms. One then arrives at an entirely
harmonised or regulated world image that brings together the local
and global public, at least at the level of an individual consumer, that
is, a distant accomplice or, frequently, subcontractor, in a complex
process of production, exchange and consumption.
The preceding opening paragraphs have defined/redefined the
concepts of “transition” and “post-transition” in the usual sense of
the  contemporary  usage  of  those  concepts.  For  instance, Cuba
today stands at the beginning of its transition, Serbia is at the end,
while, for example, Slovenia, Poland, Hungary and Russia are in
post-transitional stages. Some transitional societies in post-transi-
tion adopt the conditions and circumstances of the global state of
affairs, i.e. the global view of the world as a public view of the world.
We must now return to re-examining the concept and phenomenon
Miško Šuvaković
16
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of “transition”. One may indicate the concept and phenomenon of
transition by means of four theoretical indicators and a fifth meta-
indicator:
phenomenology of TRANSITION
change       flow       transformation       transfer/transferring
effect of revolution
(qua accumulation of changes, flow, transformation and transfer/transferring toward a radical break)
“Change” signifies a set of social activities whereby a condition
or stage of society undergoes a radical, sometimes even revolu-
tionary change and comes to occupy a situation of redefining the
local and global world image, which also includes the relations be-
tween local and global public and private forms of life. Change is
redefined as a social process – a sort of subversive practice with
consequences. 
“Flow” signifies the uncertainty and irresolubility of permanent
change in the course of our lives. No stable situation can be indi-
cated. We cannot say that we have come from Condition A to Con-
dition B and  that  the  flow,  i.e.  transition,  is  complete. The  flow
signifies the permanence of changes, transformations and transfers.
From a pre-transitional condition or situation via a transitional one,
we have come to a post-transitional condition or situation that is
now a new situation, for instance, marked by the global economic
crisis16 and thereby initiated as a new flow of changes. At the same
time, having attained the ideal or non-ideal paradigms of parlia-
mentary democracy, we are facing a crisis of parliamentary democ-
racy in the West itself and the transformation of the platforms of
17
The Implications of Post-Transition for Art and Aesthetics
16 Lazzarato, 2009.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 17
global neoliberalism17 into those of expansive populism, etc. The
flow does not stop.
“Transformation” typically signifies a gradual event whereby
one  form of life becomes  another  form of life,  that  is,  an  event
whereby one world image becomes a different world image. At the
same  time,  there  is an analogy between becoming and organic
growth, that is, the growing up of a living being. The transformation
of society is conceived as an allegorical image of the transformation
of living organisms.
Transition is a sort of “transfer” of a situation from one context
into another context. A transfer is initiated by an impulse that causes
the transfer of a situation. Transferring causes changes not only in
the situation that is being transferred, but also in the context from
or into which it is being transferred – in addition, the aim is to show
that there also occurs a counter-change in the “impulse” that initi-
ated the transfer by the very event of the transfer. One therefore
speaks of transfer and counter-transfer. A transfer is the relocation
of an X from one context into another. A counter-transfer is the
counter-impact of relocating an X from one context into another
that has consequences on the initiator, i.e. the impulse that initiated
or caused the transfer. In other words, a form of life or world image
in “transfer” is an event with double consequences, which occur in
systems  with  feedback loops.  By  analogy  with  psychoanalytic
thought,18 transfer initiates the patient’s unconscious through the
activity of the analyst, and the patient’s unconscious initiates the an-
alyst’s unconscious as an effect-reaction. In other words, initiating
transitional processes in the East by the West has the counter-effect
of initiating transitional processes in the West by the East. 
Miško Šuvaković
18
17 Harvey, 2006.
18 Lacan, 1981.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 18
In relation to social flows, one may say that the accumulation
of changes, the flow, transformation and transfer/transferring to-
ward a radical break appears as an “effect of revolution”: a com-
plete and essential end of an order and modality of its existence
with counter-impacts on the social, political, economic and cul-
tural potentials of the initiator/ideologue and surveillance of tran-
sition. A form of life is depleted and discarded. Its place is taken
over by other forms of life emerging in the process of transition.
In ideological-political terms, transition appears not as a revolu-
tion, but as its opposite; by virtue of the fundamental global change
it effects, it has the phenomenological – phenomenal – character of
a revolution.
Therefore, my claim in this discussion is that the “transfer”, i.e.
moving from Cold War, real-socialist, state-socialist and self-man-
aged society, culture and art toward civil society, that is, toward in-
troducing  and  implementing  liberal,  typically  also  national,
capitalism, takes place not only in terms of the contents transferred
(real-socialist, state-socialist and self-managed society, culture and
art), but also in terms of making a counter-effect on the dominant
world of the liberal West, which initiated these processes. The tran-
sition of Eastern Europe caused a counter-transfer in the society,
culture and art of the original initiator of the “transfer”, which was
Western liberal capitalism. The global economic crisis is an indi-
cator of that counter-transfer and its “painful” realisation.
From that first claim follows the second: that the transition of
the political East to the economic-political West is not complete,
because the very goal of that transition – i.e. the West’s liberal dem-
ocratic order – has undergone transitional changes that violate the
propositions of liberalism and democratic order. The conception of
transition as a controlled and regulated transitory interval of trans-
fer from one world image into another is thereby brought into ques-
19
The Implications of Post-Transition for Art and Aesthetics
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tion. The idea of “permanent transition”19 emerges as an attractive
model that one could trace, though not without irony, from the di-
alectics of Heraclitus to that of Marx, or connect to Leon Trotsky’s
idea of “permanent revolution”.20 It may be traced all the way to ne-
oliberal economy with its base in a constant inflation of surplus
value and uncontrolled changes in the distribution of social income
both locally and globally.
Having posited the indicators of operative concepts and having
indicated  a  “hypothetical metaphysics  of  transfer  and  counter-
transfer”, one may argue that contemporary aesthetics as a theo-
retical  practice  and  contemporary  art  as  a  practical  theory
participate in the fictionalisation or de-fictionalisation of the “tran-
sitional human condition”. 
That is meant to show that contemporary transition is a totalis-
ing process with all its transfers and counter-transfers, encompass-
ing  humankind  in  relation  to  its  geographical  locations,
global/networked relations and phase-dislocated historical identi-
fications in contemporaneity. Thus we see that transition, as per-
manent  processing,  resonates with  politics,  economics,  social
dynamic structures, ethics, art, distributions of sensuality. Thus all
of human reality is inscribed into a broad constellation of signifiers,
i.e. a map of dynamic vectors and vector consequences (economic
effects and human affects) whereby transition unfolds in the direc-
tion of transfers and counter-transfers.
Miško Šuvaković
20
19 Enwezor, 2008.
20 Trotsky, 2010.
01 - MiskoSuvakovic  23. 11. 2017  13:12  Page 20
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