Abstract Active since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.

中文翻译：

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后现代，后国家，后性别？在Neue Slowenische Kunst的视觉作品和动态图像中考虑性别身份的建议

摘要自1980年活跃以来，多学科的斯洛文尼亚艺术团体Neue Slowenische Kunst（新斯洛文尼亚艺术）及其分支机构，美术团体IRWIN，工业音乐乐队Laibach和剧院团GledališčeSester Scipion Nasice（The Scipion Nasice Sisters Theatre）看到他们的作品受到广泛讨论并经常引起争议，最常见的情况是在颠覆和对极权主义形象以及当代民族国家和民族主义的过分肯定的背景下。在对NSK的产出和影响进行分析时，性别作为另一个经常必不可少的类别，并未占有重要地位。本文提出了一些研究领域（参与，代表），并提出了一个理论框架的出发点，该框架以朱迪思·巴特勒（Judith Butler）和RW·康奈尔（RW Connell）关于性别的关键文本为起点，来分析运动图像，