ABSTRACT
This chapter describes broader research interest in the culture of post-Yugoslav collective memory and Yugonostalgia, post-socialist ideologies, and urban subcultures, lying quite literally at their intersection. Some graffiti are not necessarily related only to the Yugoslav, socialist, and partisan experience: the red star does not only symbolise Yugoslavism, socialism, and partisans—that is, the 1941–1991 period, as fascist symbolism and imagery—global or local—does not symbolise just anti-Yugoslavism either. The contents of particular graffiti and street art are a lot more telling than bare numbers: it is absolutely necessary to complement the quantitative approach with a qualitative analysis of content. The first ideological strategy of pro- and anti-Yugoslav graffiti and street art is provocation and critique: if aesthetic graffiti are an attack on the established “high” culture, if they are, therefore, counter-art, political graffiti are an attack on the dominant institutions, ruling classes, and hegemonic ideologies.
