O pedagoškem obratu in obratu k aktivizmu…
V razpravi z naslovom O pedagoškem obratu…, ki je potekala 29.3.2016 v +MSUM, so bili središčna tema postopki zbiranja, zapisovanja in posredovanja umetniških in kulturnih sledi. Razprava je tekla tudi o sledeh, ki jih je več kot 30-letno LGBT gibanje pustilo v slovenski kulturi in kultura v njem. Zdi se, da so se prepleti in zavezništva med gibanjem za emancipaciji LGBT oseb in kulturnimi akterji (ustvarjalci, kritiki, institucijami) začela in končala v osemdesetih. Po osamosvojitvi sta aktivizem in etablirana kultura hodila drug mimo drugega. Slednja se z aktivizmom sramežljivo spogleduje po začetku ekonomske in finančne krize, a jo bolj kot identitetni boji, zanimajo razredna vprašanja.
Medtem ko je pedagoški obrat jasno prepoznana praksa delovanja umetnostnih institucij, je vprašanje o možnostih obrata proti večji aktivaciji in aktivizmu v kulturi in umetnosti še vedno odprto. Od pedagoškega obrata je obrat v aktivizem manj varen in kontrolabilen. Medtem ko je pedagoški tok enosmeren ali največ dvosmeren, je aktivistični tok večsmeren z negotovim izidom.
O kratki zgodovini prepletov in mimohodov LGBT aktivizma in institucionalne kulture
V osemdesetih je bilo gibanje za emancipacijo homoseksualcev na personalni, prostorski in konceptualni ravni zelo povezano z akterji iz sveta umetnosti in kulture. Konec aprila 1984 je v Ljubljani potekal prvi Magnus festival s podnaslovom Homoseksualnost in kultura. Ta dogodek šteje kot začetek organiziranega LGBT gibanja v Sloveniji, zgodil pa se je – simbolično – v Cankarjevem domu.
Po osamosvojitvi sta LGBT aktivizem in etablirana kultura začela hoditi po vzporednih poteh. LGBT kulturna produkcija se je, s posameznimi izjemami, dogajala izven kulturnega mainstreama. V devetdesetih so nastale samostojne literarne zbirke, najprej 1990 Lambda in leta 1998 še Vizibilija, obe pri založbi ŠKUC. Sredi devetdesetih sta na Metelkovi nastala lezbični klub Monokel in gejevski klub Tiffany, ki sta poleg klubskega programa organizirala tudi likovne razstave, drag showe, performance, literarne večere in koncerte. V začetku dvatisočih je bila premierno odigrana predstava Ime mi je Damjan, ki je preko ŠKUC Gledališča umestila homo tematiko v gledališki prostor. Vse od leta 1989 v okviru K4 deluje tudi Roza disko, ki je zlasti v začetnem obdobju gostil številne kulturne dogodke. Od leta 2001 vsako leto poteka tudi Parada ponosa, ki ob festivalskem delu vključuje tudi politično sporočilo in kulturno dogajanje, spremlja pa jo tudi vizualna podoba. Od leta 2008 do 2013 je na ljubljanskih Prulah deloval LGBT prijazen Café Open s številnimi družbenokritičnimi dogodki, likovnimi razstavami, literarnimi večeri in glasbenimi dogodki. Leta 2014 se je s podobno idejo in programom odprl Café Kolaž na Gornjem trgu. Več kot 30 let v Kinoteki poteka najstarejši festival gejevskega in lezbičnega filma v Evropi, ki je najpomembnejši vsakoletni kulturni dogodek LGBT scene.
Poenostavljeno, v mainstream kulturno produkcijo se je v vseh teh letih uspelo umestiti zlasti delo Suzane Tratnik, ki svojo literaturo objavlja v vseh pomembnih slovenskih založbah in je bila leta 2007 tudi nagrajenka Prešernovega sklada. Pri tej umestitvi ne gre za presojo kakovosti dela, ampak zgolj opažanje o predoru v priznane splošne nespecializirane slovenske založbe.
O manku želje na strani institucionalizirane kulture in kulturnega kapitala na strani LGBT aktivizma
Vprašanje je, zakaj so bila v nekaterih obdobjih zadnjih 30 let vrata med sferama na stežaj odprta, v nekaterih pa priprta, če ne celo zaprta. Razlogi za neprepletanje na strani institucionalne kulture so (avto)homofobija njenih akterjev, želja po distanci kulture in umetnosti od aktivizma, samozadostnost kulture, trdni, ozki in samoreferenčni standardi vpisovanja v umetnostne kanone. Na drugi strani je v LGBT aktivizmu po intenzifikaciji političnih bojev nastal manko kulturnega kapitala, saj se aktivizem napaja iz drugih (ne kulturniških) krogov. Drugi razlog je samogetoizacija umetnic in umetnikov z LGBT ozadjem, ki je posledica strukturnih neenakosti.
Po začetku gospodarske, finančne in socialne krize se poti aktivizma in kulturne produkcije spet pogosteje stikajo, žal pa izkušnje pri delovanju Cafe Open in organizaciji Parade ponosa ter pogled na pregledno razstavo Krize in novi začetki kažejo številna nelagodja in spregledane momente emancipatornih gibanj, ki tematizirajo spol, spolno usmerjenost, spolno identiteto, samskost in reagirajo na vala retradicionalizacije in rekatolizacije sodobnih družb. Kulturna krajina se v Sloveniji zaradi svojega negotovega socialno-ekonomskega položaja na političnem polju počuti veliko bolj naslovljeno z razrednimi kot identitetnimi vprašanji, kar izkazuje tudi umestitev Delavsko-punkerske univerze na razstavi Krize in novi začetki.
Sodelovanje umetnosti in aktivizma pri emancipaciji manjšinskih družbenih skupin je pomembno, ker umetnost iznajdeva nove načine, kako najti šivankina ušesa in predreti debelo kožo oblastnih razmerij in antidružbenih in antiemancipatornih gibanj, ki jih aktivizem pogosto naslavlja brez orodij, potrebnih za preboj.
Barbara Rajgelj
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