Abstract
Konstrakta, Serbian Eurovision Song Contest representative in 2022 with the song In corpore sano, inspired countless commentaries and viral moments. These included her fashion, e.g. popular working women’s footwear from socialist Yugoslavia “borosane” as part of her costume. This is not the only time the artist will evoke ex-Yugoslav imagery or refer to art, culture and life in former Yugoslavia since her performance was also seen by a few commentators as a nod to Belgrade’s performance art scene during socialism. In Triptych, Konstrakta's lyrics juxtapose brutalist architectural symbols of former Yugoslavia with Eastern Orthodox churches of post-socialist Serbia. She includes comments on the decline of the former middle class and transitions to the evocation of repetitive patterns of capitalism. While her music is already a rich text for analysis, Konstrakta’s art is inextricable from the visual components and imagery of her work, both regarding music videos and live performances. Thus, it is best understood in terms of musical multimediality, which will be shown in this paper.
Short biography
Marija Maglov (1989) is a Research Assistant at the Institute of Musicology of the Serbian Academy of Sciences and Arts and a PhD candidate at the Faculty of Music, Belgrade. Her research interests include kinds of music of the 20th and 21st century, media, media institutions, radiophony, discography and the music industry. She is the secretary of the AM: Journal of Art and Media studies